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

«Abraham explained that they had been offering these blocks of thoughts to me for quite some time, but I was so strictly trying to follow Theo’s instructions—which said, “When your mind wanders, and it will, release the thoughts and focus on your breathing”—that whenever one of these thoughts would begin, I would release it as quickly as possible and focus back upon my breathing.» — la voz atribuye el retraso del contacto a que ella seguía al pie de la letra la instrucción de Theo, que mandaba soltar el pensamiento que llegara

«And then the words began to take form on the paper: I am Abraham. I am your spiritual guide. I am here to work with you. I love you. We will write a book together.» — las primeras palabras que Esther Hicks dice haber escrito a máquina sin decidirlas, donde la voz se nombra, se declara guía y anuncia un libro

«We discovered that I could put my hands on the keyboard and then relax, much in the same way that I did during meditation, and that Abraham (whom we will now refer to as “they” from here on in) would then answer questions about anything that Jerry would ask. It was an amazing experience. They were so intelligent, so loving, and so available! Anytime, day or night, they were there to talk to us about anything that we wanted to discuss.» — el segundo estado del arreglo, con el paréntesis en que los dos firmantes fijan el plural con que nombrarán a la voz de ahí en adelante

«How is it that this wonderful thing has happened to me? At times, as I think about it, I can hardly believe that it’s true. It seems like the kind of thing that fairy tales are made of—almost like making a wish as you rub the magic lantern. At other times, it seems like the most natural, logical experience in the world.» — y deja sin resolver su propia lectura del suceso, entre el cuento de hadas y lo más natural del mundo; el volumen consigna la duda de quien recibe

«Abraham has explained that the reason why Jerry and I are the perfect combination for doing this work together is because Jerry’s powerful desire summoned Abraham, while my absence of opinions or angst made me a good receiver for the information that Jerry was summoning.» — la voz reparte los papeles del matrimonio: el deseo de él convoca y la falta de opiniones de ella la hace buena receptora

«Abraham doesn’t seem interested in forecasting our future, as a fortune-teller might, although I believe that they always know what our future holds, but instead they’re teachers who guide us from wherever we are to wherever we want to be.» — Esther Hicks aparta a la voz del oficio del adivino y la sitúa en el del maestro, con la reserva de que cree que sí conoce el futuro

«Abraham is not about guiding anyone toward or away from anything. We want you to make all your decisions about your desires. Our only desire for you is that you discover the way to achieve your desires.» — la voz niega dirigir el deseo de nadie y acota su papel a ayudar a lograr el que cada quien tenga; es la reserva que el volumen repite en el capítulo 22

«The boy said, “At first, I didn’t believe that Esther was really speaking for Abraham. But when I heard the tape, and heard Abraham’s answers to these questions, I then knew that Abraham was real, because there was no judgment. I don’t believe that any person could be so wise, so fair, and without judgment.» — el testimonio de un muchacho que Esther Hicks recoge como el elogio que más aprecia, donde lo que decide no es la doctrina sino la ausencia de juicio

«Jerry looked up the name Theo in our dictionary. “The meaning of Theo,” he joyously announced to me, “is God”! How perfect that is! I smile as I reflect back on that wonderful day, which was such an extraordinary turning point for us. There I was, worried about interacting with evil, when I was, in fact, on my way to having a conversation with God!» — Esther Hicks cierra el episodio de 1984 con la etimología que su marido buscó años después y con la vuelta que da a su miedo inicial

«This morning, Abraham said to me, Esther, we are aware of the questions that are radiating from the mass consciousness of your planet, and here, through you, we will joyously offer the answers. Relax and enjoy the delicious unfolding of this book.» — la voz declara el motivo del libro, responder a lo que dice preguntar la consciencia de masa del planeta, y lo dice dentro de la introducción de ella

«So I’m going to relax here, and allow Abraham to immediately begin writing this book to you. I imagine that they will explain to you, from their perspective, who they are, but more important, I believe that they will help you come to understand who you are.» — Esther Hicks cede el libro con la misma fórmula con que describe su oficio, relajarse y permitir, y anuncia lo que espera que la voz haga

«beginning, the words “I am Abraham” were spoken through me only because my expectation for my spiritual guide was singular, but that there are many there with them, speaking, in a sense of the word, with one voice, or a consensus of thought.» — la voz adjudica el singular del primer nombre a la expectativa de ella, que esperaba un guía y no muchos, con lo que el volumen hace del nombre un efecto de quien recibe; la frase empieza del otro lado del corte de chunk, que el troceo abre reemitiendo esta misma plana

«Abraham spoke through my mouth burst out, “Take the next exit!» — las primeras palabras que Esther Hicks dice haber dicho en voz alta por la voz, en una carretera de Phoenix; la frase arranca en la plana anterior y el troceo la parte ahí

«We exited the freeway and parked in a lot underneath an overpass, and Jerry and Abraham visited for hours. My eyes were closed tightly, and my head moved up and down rhythmically as Abraham answered Jerry’s stream of questions.» — y la primera sesión hablada que el volumen describe, de horas y con los ojos cerrados, que es el tercer estado del arreglo después del deletreo y la máquina de escribir

«Of course, you must understand that you also have come forth from the Non-Physical dimension, so we are not so different from one another. Your physical world has come forth from the projection of the Non-Physical. In fact, you and your physical world are extensions of the Non-Physical Source Energy.» — la voz que el libro presenta como Abraham abre el capítulo 1 negando diferencia de origen entre ella y el lector, y deriva de ahí que lo físico sea extensión de lo No Físico

«In this Non-Physical realm, we do not use words, for we do not require language. We also do not have tongues with which to speak or ears with which to hear, although we do communicate perfectly with one another. Our Non-Physical language is one of vibration, and our Non-Physical communities, or families, are those of intention.» — y describe su propio medio sin lengua ni órganos: vibración por comunicación e intención por parentesco, que es lo que el volumen llama familia

«In other words, we radiate that which we are, vibrationally, and others of like intent assemble. That is also true of your physical world, although most of you have forgotten that this is so.» — la regla de agrupamiento por semejanza, que el capítulo 6 nombrará Ley de Atracción, enunciada aquí primero de sí misma y después extendida al mundo físico

«Abraham is a family of Non-Physical Beings naturally assembled by our powerful intention to remind you, our physical extensions, of the Laws of the Universe that govern all things.» — la voz se define familia reunida por una intención y no individuo, y fija su oficio en recordar leyes al lector, a quien llama extensión física suya

«It is our intention to help you remember that you are extensions of Source Energy; that you are blessed, loved Beings; and that you have come forth into this physical time-space-reality to joyously create.» — y enuncia las tres cosas que dice venir a recordar, con el verbo que el volumen usa en vez de enseñar: recordar lo ya sabido

«But most physical Beings have become so distracted by the physical nature of your planet that you have developed strong patterns of resistance that thwart your clear connection to your own Source.» — y explica el desconocimiento por distracción y por hábitos de resistencia, que es el término sobre el que gira la segunda parte del volumen

«While all physical humans have access to the clear communication from the Non-Physical, most are not consciously aware of it. And often, even when you are aware that it is possible, you hold habits of thought that act as resistance hindering your ability to consciously interact.» — la voz acota lo anterior: el acceso sería de todos y la conciencia de tenerlo, de pocos, por hábitos de pensamiento que llama resistencia

«We offer our knowing, vibrationally, in a way that is similar to what you understand as radio signals, and Esther receives those vibrations and translates them into the physical word equivalent.» — la voz describe su propio envío con el símil de las señales de radio y reparte el trabajo: ella ofrece vibratoriamente y Esther Hicks traduce a palabra física

«There are not, however, adequate physical words to convey our satisfaction and joy in being able to offer our knowing to you, in this way, at this time.» — y declara insuficiente la propia lengua en que se la lee, que es la misma reserva que Jerry Hicks plantea en el Preface con la palabra que ahí glosa

«It is our powerful desire that you be pleased with where you are right now, in this moment—no matter where you are. We understand how strange these words must sound to you if you are standing in a place that seems far from where you want to be.» — la voz enuncia lo que quiere del lector y de inmediato reconoce lo extraño que ha de sonarle a quien esté lejos de donde quiere; la reserva va dentro de la misma frase

«But it is our absolute promise to you that when you understand the power of feeling good now, no matter what, you will hold the key to the achievement of any state of being, any state of health, any state of wealth, or any state of anything that you desire.» — y hace de sentirse bien ahora la llave de cualquier estado deseado, que es la tesis que da título al capítulo

«These pages are specifically written to give you a better understanding of yourself and of everyone else around you, and you may find some of that helpful, but words really do not teach. Your true knowledge comes from your own life experience.» — la voz acota el alcance del propio libro: las palabras no enseñarían, y el saber vendría de la experiencia de cada quien

«And while you will be a constant gatherer of experience and knowledge, your life is not only about that—it is about fulfillment, satisfaction, and joy. Your life is about the continuing expression of who you truly are.» — y niega que la vida sea acumulación de saber, para ponerla en la expresión continua de lo que cada quien es

«We are talking to you at many levels of your awareness, all at the same time, but you will only receive whatever you are now ready to receive. Everyone will not get the same thing from this book, but every reading of this book will net you something more.» — la voz explica el título del apartado: el libro daría a cada lector lo que esté listo para recibir, y más en cada relectura

«It is a book that will help physical Beings understand their relationship to GOD and to ALL-THAT-THEY-REALLY-ARE.» — y sitúa lo que el libro trata entre Dios y lo que el lector realmente es, con las versalitas que el Preface explica por falta de equivalente en inglés

«This book will help you understand that you never, ever get it done. It will help you understand your relationship with your history and with your future—but, most important, it will awaken within you your awareness of the potency of your powerful now.» — la voz niega término a la tarea y pone el acento en el presente, que es lo que llama el ahora poderoso

«You will learn how you are the creator of your own experience and why all of your power is in your now. And ultimately this book will lead you to an understanding of your Emotional Guidance System and to an understanding of your vibrational set-point.» — y anuncia los dos términos propios que el volumen desarrollará, el Sistema de Guía Emocional y el punto de ajuste vibratorio

«Here you will find a series of processes that will assist you in reconnecting with the “Non-Physical” part of yourself, processes that will help you in achieving anything you desire. And as you apply these processes, and as your memory awakens to the powerful Laws of the Universe—your naturally joyful zest for life will return.» — la voz anuncia la segunda parte del volumen como serie de procesos y los presenta como reconexión, no como técnica de logro

«All who are physically focused have Non-Physical counterparts. There is no exception to that. All who are physically focused have» — la voz universaliza la contraparte No Física con una fórmula de excepción que repite dos veces; el tramo se corta aquí porque la segunda frase cruza a la plana siguiente

«Do you know what you want? Do you know that you are the creator of your own experience? Are you enjoying the evolution of your desire? Do you feel the freshness of a new desire pulsing within you?» — la voz abre el capítulo 2 con cuatro preguntas al lector, que es la forma en que el volumen plantea el diagnóstico antes de la doctrina

«If you are among the rare humans who answered, “Yes, I’m enjoying the evolution of my desire. I feel wonderful as I stand in this place where many things that I desire have not yet come tome,” then you understand who you are and what this physical life experience is really all about.» — y llama raro a quien disfruta el deseo todavía no cumplido, con la frase entrecomillada que le pone en boca; el troceo imprime pegado a me

«But if you are, as most humans are, feeling unhappy about your unfulfilled desires; if you have a desire for more money, but you find yourself in a continual state of shortage; if you are not satisfied with your job situation, but you feel stuck and cannot see any way of improving it; if your relationships are not satisfying, or if the dream relationship that you have desired for as long as you can remember continues to be just out of reach; if your body does not feel or look the way you would like . . . then there are some very important and rather easy-to-understand things that we would like to convey to you here.» — la voz inventaría por materias la insatisfacción que da por común, dinero, trabajo, relaciones y cuerpo, que son las mismas que los procesos de la segunda parte tratarán una por una

«We want to give you this information because we want you to find your way to all things that you desire. But that is really only a small part of our reason, for we understand that even when you have achieved everything on your current list of things that you desire, there will be another list, even longer and more expansive, to take its place.» — la voz declara su motivo y de inmediato lo relativiza: a cada lista cumplida seguiría otra más larga, de modo que el logro no cierra nada

«So, this book is not being written to assist you in getting everything you want checked off your list, for we understand the impossible nature of that endeavor.» — y niega que el libro sirva para terminar la lista de deseos, con lo que aparta su propósito del que su propio subtítulo podría sugerir

«We write this book to assist you in returning you to your place of optimism, positive expectation, and expanding joy; and to remind you that there is nothing that you cannot be, do, or have.» — el segundo motivo, devolver al lector al optimismo y a la expectativa positiva, con la fórmula que el volumen repite de cabo a rabo

«We write this book because we promised you we would. And now, as you hold this book in your hands, you are completing a promise you made as well.» — el tercer motivo es una promesa mutua anterior al libro, y con ella la voz hace del lector parte del acuerdo que da título al capítulo

«You said, “I will go forth into the physical time-space-reality among other Beings, and I will assume an identity with a clear and specific perspective. I will learn to see myself from that point of view, and I will enjoy being seen as that point of view.» — la voz pone en boca del lector, antes de su nacimiento, la decisión de asumir una identidad con perspectiva propia; el capítulo entero está construido sobre esa cita atribuida

«You said, “I will observe what surrounds me, and my response to what I observe will cause my own valuable personal preferences to be born.» — y de ahí deriva el nacimiento de las preferencias personales por respuesta a lo observado, que es el mecanismo que el capítulo 4 llamará contraste

«And then you said (and this is the most important part of all), “I will always feel the power and value of my own personal perspective, for the ‘Non-Physical Energy’ that creates worlds will flow through my decisions, my intentions and my every thought, for the creation of that which I set into motion from my perspective.» — la parte que la voz declara más importante de esa decisión atribuida: que la Energía No Física que crea mundos fluiría por las decisiones y los pensamientos de cada quien

«You knew then, before your physical birth, that you were “Source Energy” specifically focused in this physical body, and you knew that the physical person you would become could never be separated from that which you came from. You understood then, your eternal connection to that Source Energy.» — y fija la tesis del capítulo: la persona física no podría separarse de aquello de lo que procede

«So, you came forth into this wonderful body, remembering the joyous, powerful nature that is you, knowing that you would always remember the splendor of the Source from which you came, and knowing that you could never lose your connection to that Source.» — la voz describe la venida al cuerpo como acto con memoria, y no como caída ni como olvido; lo que se pierde, según el capítulo 1, es la conciencia de la conexión y no la conexión

«We are here to help you remember the powerful nature that is you, and to assist you in returning to that confident, joyful, always-lookingfor-something-else-wonderful-to-turn-your-attention-to person that is» — y define su propio oficio con un compuesto larguisimo que el volumen imprime con guiones; la frase se corta en el cambio de plana, donde termina en you; el troceo parte el compuesto largo por el guion de fin de renglón y span devuelve *always-lookingfor-* unido donde el libro imprime *always-looking-for-*.

«Since we know who you are, we will easily help you remember who you are. Since we are where you came from, we will easily remind you of where you have come from. Since we know what you desire, we will easily guide you to help yourself to that which you desire.» — la voz funda su autoridad en tres saberes paralelos, quién es el lector, de dónde viene y qué desea, y en cada caso deriva de ahí su propio papel

«We want you to remember that there is nothing that you cannot be, do, or have, and we want to assist you in achieving that. But we love where you are right now, even if you do not, because we understand how joyful the journey (from where you are to where you want to go) will be.» — la fórmula que da título al apartado, con la reserva que el volumen le pone al lado: la voz dice amar el lugar donde el lector está, aunque él no lo ame

«So relax, and enjoy this easy-paced journey to rediscovering who you really are. It is our desire that by the time you reach the end of this book, you will know yourself as we know you, that you will love yourself as we love you, and that you will be enjoying your life as we are enjoying your life.» — y cierra el capítulo con lo que espera del lector al terminar el libro, dicho en tres paralelos que miden el resultado por el conocerse, el quererse y el disfrutar

«We write this book to reawaken within you your memory of the» — la voz da el primero de los tres motivos con que dice escribir, reavivar una memoria; la frase se corta aquí porque sigue en la plana siguiente, donde nombra el poder y el éxito inevitable

«Not so very long ago, our friends Jerry and Esther were introduced to this phrase: “You are the creator of your own reality.” (They had discovered the Seth books by Jane Roberts.» — la voz atribuye a los dos firmantes el haber recibido de fuera la fórmula que da título al capítulo, y nombra la procedencia entre paréntesis: es la única vez que el volumen nombra a otro arreglo de este tipo y a su autora

«For them, it was both an exciting prospect and a troubling one, for, like so many of our physical friends, they did desire creative control of their own experience, but they were plagued with some basic questions: “Is it really all right for us to choose the reality that we create? And if it is appropriate for us to do so, how do we go about doing it?» — y consigna las dos preguntas con que dice que la recibieron, si es lícito elegir la realidad que uno crea y cómo se hace, que son las que el volumen se propone contestar

«You were born with an innate knowledge that you do create your own reality. And, in fact, that knowledge is so basic within you that when someone attempts to thwart your own creation, you feel an immediate discord within yourself.» — la voz da por innato ese saber y ofrece como prueba interna el desacuerdo que se siente cuando otro estorba la creación propia

«You were born knowing that you are the creator of your own reality, and although that desire to do so pulsed within you in a powerful way, when you began to integrate into your society, you began to accept much of the same picture that others held of the way your life should unfold.» — y explica la pérdida por integración social, no por culpa ni por caída: se acepta el cuadro que otros tienen de cómo debe ir la vida propia

«But still, within you today lives the knowledge that you are the creator of your own life experience, that absolute freedom exists as the basis of your true experience, and that ultimately the creation of your life experience is absolutely and only up to you.» — la tesis del capítulo enunciada entera, con la libertad absoluta por base y la creación de la experiencia propia por asunto exclusivo de cada quien

«But in all this adapting to your society’s attempts to make you fit in, and in your own attempt to find less trouble, you have unwittingly relinquished your most basic foundation: your total and absolute freedom to create.» — la voz nombra lo perdido en esa adaptación con el término que el capítulo pone por cimiento, la libertad total de crear

«You have not given up this freedom easily, however, and, in fact, you can never truly release it, for it exists as the most basic tenet of your very being. Still, in your attempt to release it for the sake of getting along, or in your hopeless resignation that you have no other choice than to give up your powerful right to choose . . . you have gone crossways to your natural current, and contrary to your very soul.» — y de inmediato acota: esa libertad no podría cederse de veras, y lo que ocurre al intentarlo es ir contra la propia corriente

«This book is about your realignment with Source Energy. It is about your reawakening to the clarity, goodness, and power that is really who you are. It is written to assist you in consciously returning to the knowledge that you are free and that you always have been free—and that you always will be free to make your own choices.» — la voz define de qué trata el libro en tres frases paralelas, realineación, redespertar y vuelta consciente al saber de la libertad propia

«There is no satisfaction in allowing someone else to attempt to create your reality.» — y niega la posibilidad misma de que otro cree la realidad de uno, que es la contrapartida dura de la tesis del capítulo

«You are eternal Beings who have chosen to participate in this specific physical life experience for many wonderful reasons. And this time-space-reality on Planet Earth serves as a platform in which you are able to focus your perspective for the purpose of specific creation.» — la voz declara eternos a sus lectores y hace de la Tierra una plataforma de enfoque para la creación específica

«The physical being that you define as “you” stands on the Leading Edge of thought, while Consciousness, which is really your Source, pours through you.» — y coloca a la persona física en el borde del pensamiento, con la Consciencia que llama Fuente vertida a través de ella

«Sometimes you are fully allowing the true nature of your Being to flow through you, and sometimes you do not allow it to flow. This book is written to help you understand that you have the ability to always allow your true nature to pour through you, and that as you learn to consciously allow your full connection with the You that is your Source, your experience will be one of absolute joy.» — la voz explica la intermitencia por permiso y no por mérito, y promete constancia a quien aprenda a permitir de manera consciente

«By consciously choosing the direction of your thoughts, you can be in constant connection with Source Energy, with God, with joy, and with all that you consider to be good.» — y pone la elección consciente de la dirección del pensamiento por único medio, con Dios nombrado en la misma serie que la alegría y la Energía de la Fuente

«Well-Being is the basis of this Universe. Well-Being is the basis of All-That-Is. It flows to you and through you. You have only to allow it. Like the air you breathe, you have only to open, relax, and draw it into your Being.» — la voz pone el Bienestar por base del universo y lo compara con el aire, que solo habría que abrirse a recibir; es la palabra que el Preface explica con mayúscula

«Can you understand how much Well-Being is flowing to you? Do you understand how much orchestration of circumstances and events on your behalf is available to you? Do you understand how adored you are? Do you understand how the creation of this planet, the creation of this Universe, fits together for the perfection of your experience?» — cuatro preguntas seguidas con que la voz mide el cuidado que dice haber puesto en el lector, hasta hacer caber la creación del universo en la perfección de su experiencia

«We want you to begin to understand the blessed nature of your Being, and we want you to begin to look for the evidence of it, because we are showing it to you in every moment that you will allow yourselves to see it: in the lining up of lovers, money, fulfilling experiences, and beautiful things for you to see; in the lining up of circumstances and events; and in the lining up of amazing co-creative experiences where you are rendezvousing with one another for no other reason than for the fantastically important reason of fulfilling, satisfying, and pleasing yourself and giving yourself joy in the moment.» — y enumera dónde dice mostrarle la prueba, en amantes, dinero, experiencias y encuentros, todos referidos al placer de cada quien en el momento

«Your motion forward is inevitable; it must be. You cannot help but» — la voz declara inevitable el avance y empieza a negar que sea la meta; la frase se corta en el cambio de plana, donde dice que no se está aquí en busca de avanzar

«are here to experience outrageous joy. That is why you are here.» — el cierre del capítulo 3, que pone la alegría desmedida por razón de estar aquí y no el avance; la frase arranca del otro lado del cambio de plana

«Perhaps the question we hear most often from our physical friends is: Why is it taking me so long to get what I want?» — la voz abre el capítulo 4 con la pregunta que dice oír más a menudo, que es la del tiempo y no la del método

«It is not because you do not want it enough. It is not because you are not intelligent enough. It is not because you are not worthy enough. It is not because fate is against you. It is not because someone else has already won your prize.» — y descarta en cinco renglones paralelos las explicaciones que da por comunes, el querer poco, la inteligencia, el merecimiento, el destino y la competencia

«The reason you have not already gotten what you desire is because you are holding yourself in a vibrational holding pattern that does not match the vibration of your desire. That is the only reason—ever!» — la voz da una sola causa y la declara única, el desajuste vibratorio entre quien pide y lo pedido; el volumen entero cuelga de esa reducción

«And an important thing for you to now understand is that if you will stop and think about it, or, more important, stop and feel about it, you can identify your very discord.» — y ofrece el sentir, antes que el pensar, como el instrumento con que localizar ese desajuste, que es el papel que el capítulo 9 dará a las emociones

«So now, the only thing you need to do is gently and gradually, piece by piece, release your resistant thoughts, which are the only disallowing factors involved. Your increasing relief will be the indicator that you are releasing resistance, just as your feelings of increased tension, anger, frustration, and so on, have been your indicators that you have been adding to your resistance.» — lo que el libro prescribe aquí, dicho por la voz: soltar los pensamientos de resistencia poco a poco, con el alivio y la tensión por indicadores de una dirección y de la otra

«Well-Being flows; Well-Being wants you! Well-Being is lined up outside your door. Everything you have ever desired, whether spoken or unspoken, has been transmitted by you vibrationally. It has been heard and understood by Source and has been answered, and now you are going to feel your way into allowing yourself to receive it, one feeling at a time.» — la premisa que la voz declara previa a todo lo demás, con lo deseado ya pedido y ya contestado, de modo que lo único pendiente sería recibirlo

«Everything in your physical environment was created from Non-Physical perspective by that which you call Source. And just as Source created your world, and you, through the power of focused thought, you are continuing to create your world from your Leading-Edge place in this time-space-reality.» — la voz extiende a lo físico el mismo proceso que atribuye a la Fuente, y hace del lector continuador y no espectador de esa creación

«You and that which you call Source are the same. You cannot be separated from Source. Source is never separated from you. When we think of you, we think of Source. When we think of Source, we think of you.» — cinco renglones paralelos con que la voz niega toda separación entre el lector y lo que llama Fuente, incluida la que podría venir del lado de la Fuente

«You cannot offer a thought that would cause total separation (separation is actually far too strong of a word), but you can offer thoughts that are different enough in vibrational nature to hinder your natural connection with Source. We refer to that condition as resistance.» — y acota el término en la misma frase en que lo introduce: separación le parece palabra demasiado fuerte, y llama resistencia al estorbo de la conexión

«The only form of resistance, or hindrance of your connection to that which is Source, is offered by you from your physical perspective.» — la voz adjudica la resistencia entera al lado físico, con lo que ninguna dificultad queda atribuida a la Fuente

«As extensions of Non-Physical Energy, you are taking thought beyond that which it has been before—and through contrast, you will come to conclusions or decisions. And once you align with your desire, the Non-Physical Energy that creates worlds will flow through you . . . which means enthusiasm, passion, and triumph. That is your destiny.» — y describe el oficio del lector como llevar el pensamiento más allá por contraste, con el entusiasmo y el triunfo dados por destino

«We all must have objects of attention, desires that are ringing our bells, in order to feel the fullness of who we are flowing through us for the continuation of All-That-Is. That desire is what puts the eternalness in eternity.» — la voz se incluye en el plural y hace del deseo, y no de la quietud, lo que sostiene la continuación de todo lo que es

«Do not underestimate the value of your preferences, for the evolution of your planet depends upon those of you on the Leading Edge of thought continuing to fine-tune your desires. And the contrast, or variety, in which you are standing provides the perfect environment for the formation of your personal preferences. As you are standing in the midst of contrast, new desires are radiating constantly from you in the form of vibrational signals that are received and answered by Source—and in that moment, the Universe is expanding.» — y hace depender la evolución del planeta de las preferencias personales, con el contraste por ambiente que las forma y la expansión del universo por resultado

«This book is not about the expanding Universe, or about Source answering your every request, or about your worthiness—for all of that is a given. This book is about you putting yourself in a vibrational place of receiving all that you are asking for.» — la voz acota el asunto del libro por exclusión: ni la expansión ni el merecimiento, que da por supuestos, sino ponerse en disposición de recibir

«You do create your own reality. No one else does. And, you create your own reality even if you do not understand that you do so. For that reason, you often create by default.» — y distingue las dos maneras de crear que el volumen opone en todo el cuerpo, la deliberada y la que ocurre por omisión

«When you are consciously aware of your own thoughts, and you are deliberately offering them, then you are the deliberate creator of your own reality—and that is what you intended when you made the decision to come forth into this body.» — la definición de creador deliberado, con la conciencia del propio pensamiento por criterio, y la remisión a la decisión previa al nacimiento del capítulo 2

«Your desires and beliefs are just thoughts: “Ask and it is given.” You ask through your attention, through your wanting, through your desire—that is the asking (whether you desire it to happen, or you desire it not to happen, you are asking. . . . ).» — la frase que da título al volumen aparece aquí dentro del cuerpo y entrecomillada, y la voz define el pedir por la atención, con la advertencia de que se pide igual lo que no se quiere

«You do not have to use your words. You just have to feel it in your being: I desire this. I adore this. I appreciate this, and so on. That desire is the beginning of all attraction.» — y quita la palabra del procedimiento para dejar solo el sentir, con tres fórmulas en primera persona que el libro pone de ejemplo

«You never grow tired of expansion or of creation, for there is no ending to the new ideas of desires that flow. With every new idea of something you would like to experience, possess, or know . . . will» — la voz niega fatiga a la expansión y encadena idea y manifestación; la frase se corta en el cambio de plana, donde sigue con la actualización

«come its actualization or manifestation—and with that manifestation will also come a new perspective from which you will desire. The contrast, or variety, never ends, so the sprouting forth of new desires will never end, and as that “asking” never ends, the “answering” never ceases to flow.» — y cierra el circuito: cada manifestación traería una perspectiva nueva desde la cual desear, de modo que ni el pedir ni el contestar terminan

«Once you relax into the idea that you will never cease to be, that new desires will be constantly born within you, that Source will never stop answering your desires, and that your expansion is, therefore, eternal, then you may begin to relax if, in this moment, there is something that you desire that has not yet come to fruition.» — la voz deriva de la eternidad una consecuencia práctica, que es dejar de apremiar lo que todavía no llega

«It is our desire that you become one who is happy with that which you are and with that which you have—while at the same time being eager for more. That is the optimal creative vantage point: To stand on the brink of what is coming, feeling eager, optimistic anticipation—with no feeling of impatience, doubt, or unworthiness hindering the receiving of it—that is the Science of Deliberate Creation at its best.» — y define el mejor punto de creación como contento y avidez a la vez, con la acotación de que ni la impaciencia ni la duda ni la indignidad estorben el recibir

«There is a current that runs through everything. It exists throughout the Universe, and it exists throughout All-That-Is. It is the basis of the Universe, and it is the basis of your physical world. Some are aware of this Energy, but most humans are unaware of it. However, everyone is affected by it.» — la voz abre el capítulo 5 con una corriente única por base del universo y del mundo físico, y separa el estar afectado por ella del saberlo

«Like learning to understand the basics of mathematics and then having the successful experience of understanding the results of their applications, you will now have a formula for under- standing your world that will always be consistent, and which will yield consistent results to you.» — la voz compara lo que ofrece con las matemáticas y lo llama fórmula de resultados constantes; el troceo parte understanding por el guion de fin de renglón y span lo devuelve unido

«They will be so consistent that you will be able to predict your future experiences with absolute accuracy, and you will be able to understand your past experiences with a knowing that was unavailable to you before.» — y lleva esa constancia hasta la predicción del futuro propio con exactitud absoluta, que es de las afirmaciones más fuertes del volumen

«You will never again feel like a victim, in the past or future, cowering from the idea of unwanted things pouncing into your life experience. You will finally understand the absolute creative control that you have of your own life experience.» — la voz niega la posición de víctima y la sustituye por control creativo absoluto de la experiencia propia

«It will be an extremely satisfying experience to identify your own personal desires, which will be rising from the contrasting life experiences that you are living, and to know that each of those desires can be fully realized. From that place of belief; from that place of understanding the basics that are always consistent: You will now shorten the time between the inception of your idea of desire and its full and absolute manifestation.» — y ofrece por resultado acortar el tiempo entre el deseo y su manifestación, que es la promesa práctica que la segunda parte del volumen desarrolla

«You can feel whether you are allowing your full connection to Source Energy or not. In other words, the better you feel, the more you are allowing your connection; the worse you feel, the less you are allowing your connection. Feeling good equals allowing the connection; feeling bad equals not allowing the connection—feeling bad equals resisting the connection to your Source.» — la regla que el volumen usa como instrumento de medida: sentirse bien equivale a permitir la conexión y sentirse mal a resistirla

«You are, even in your physical expression of flesh, blood, and bone, a “Vibrational Being,” and everything you experience in your physical environment is vibrational. And, it is only through your ability to translate vibration that you are able to understand your physical world at all.» — la voz declara vibratorio al lector y a su entorno, y hace de la traducción de vibración la única vía de entender el mundo físico

«In other words, through your eyes, you translate vibration into that which you see. Using your ears, you translate vibration into the sounds that you hear. Even your nose, tongue, and fingertips are translating vibrations into the smells, tastes, and touches that help you understand your world. But your most sophisticated of vibrational interpreters by far are your emotions.» — y recorre los cinco sentidos como traductores de vibración para poner las emociones por encima de todos ellos

«By paying attention to the signals of your emotions, you can understand, with absolute precision, everything you are now living or have ever lived. And, with a precision and ease that you may have never before experienced, you can use this new understanding of your emotions to orchestrate a future experience that will please you in every way.» — lo que el libro prescribe en este capítulo, dicho por la voz: atender a las señales de la emoción para entender lo vivido y orquestar lo que viene

«By understanding your emotional connection to who you really are, you will come to understand not only what is happening in your own world and why, but you will also understand every other living Being with whom you interact. Never again will you have unanswered questions about your world. You will understand—from a very deep level, from your broader Non-Physical perspective, and through your own personal physical experience— everything about who you are, who you have been, and who you are becoming.» — la voz extiende el alcance de esa comprensión a los demás y cierra el capítulo negando que queden preguntas sin respuesta

«As you begin to understand the basis of your world, and you begin to look for, or better said, feel for, your awareness of this Source Energy that is the basis of all things, you will then understand everything about your own experience. You will also more clearly understand the experiences of those around you.» — y enmienda el verbo dentro de la misma frase, del entender al sentir, que es el desplazamiento sobre el que se arma el resto del volumen

«By paying attention to the way you feel, you can fulfill your reason for being here, and you can continue your intended expansion in the» — la voz hace de esa atención el cumplimiento de la razón misma de estar aquí y no una técnica entre otras; la frase se corta en el cambio de plana, donde termina en el modo gozoso

«Every thought vibrates, every thought radiates a signal, and every thought attracts a matching signal back. We call that process the Law of Attraction. The Law of Attraction says: That which is like unto itself is drawn.» — la voz define en el capítulo 6 la ley que da título al capítulo, y la enuncia en una fórmula que el volumen repetirá literal a lo largo del cuerpo y en el glosario

«And so, you might see the powerful Law of Attraction as a sort of Universal Manager that sees to it that all thoughts that match one another line up.» — y la figura con que la presenta, un gerente universal que alinea los pensamientos que coinciden; el proceso 20 del volumen construye un ejercicio entero sobre esa figura

«You understand this principle when you turn on your radio and deliberately tune your receiver to match a signal from a broadcasting tower. You do not expect to hear music that is being broadcast on the radio frequency of 101FM to be received on your tuner when it is set at 98.6FM. You understand that radio vibrational frequencies must match, and the Law of Attraction agrees with you.» — el símil del dial con que la voz explica la exigencia de coincidencia, con las dos frecuencias que el volumen imprime

«So, as your experience causes you to launch vibrational rockets of desires, you must then find ways of holding yourself consistently in vibrational harmony with those desires in order to receive their manifestation.» — la voz llama cohetes vibratorios a los deseos que la experiencia lanza, y pone la armonía sostenida por condición de recibirlos

«Whatever you are giving your attention to causes you to emit a vibration, and the vibrations that you offer equal your asking, which equals your point of attraction.» — y hace equivaler la atención con el pedir y con el punto de atracción, que es el término con que los veintidós procesos se presentan

«However, if there is something that you desire that you currently do not have, and you put your attention upon your current state of not having it, then Law of Attraction will continue to match that not having it vibration, so you will continue to not have that which you desire. It is Law.» — la cara dura de la ley, dicha por la voz: atender a la ausencia de lo deseado daría más ausencia, y lo declara ley sin excepción

«The key to bringing something into your experience that you desire is to achieve vibrational harmony with what you desire. And the easiest way for you to achieve vibrational harmony with it is to imagine having it, pretend that it is already in your experience, flow your thoughts toward the enjoyment of the experience, and as you practice those thoughts and begin to consistently offer that vibration, you will then be in the place of allowing that into your experience.» — lo que el libro prescribe en este capítulo, dicho por la voz: imaginar que ya se tiene y practicar ese pensamiento hasta ofrecerlo de manera constante

«Now, by paying attention to the way you feel, you can easily know if you are giving your attention to your desire or if you are giving it to the absence of your desire. When your thoughts are a vibrational match to your desire, you feel good—your emotional range would be from contentment to expectation to eagerness to joy. But if you are giving your attention to the lack, or absence, of your desire—your emotions would range from feelings of pessimism to worry to discouragement to anger to insecurity to depression.» — y despliega dos series de emociones como lectura del rumbo, de contento a alegría hacia un lado y de pesimismo a depresión hacia el otro; es el germen de la escala del capítulo 22

«Your emotions provide a wonderful guidance system for you, and if you will pay attention to them, you will be able to guide yourself to anything that you desire.» — la voz nombra el sistema de guía que dará título al capítulo 22 y lo ofrece como instrumento de dirección, no de diagnóstico

«By the powerful Universal Law of Attraction, you draw to you the essence of whatever you are predominantly thinking about. So if you are predominantly thinking about the things that you desire, your life experience reflects those things.» — la ley aplicada al pensamiento predominante, con la simetría entre lo deseado y lo no deseado que el volumen no suaviza

«Whatever you are thinking about is like planning a future event. When you are appreciating, you are planning. When you are worrying, you are planning. (Worrying is using your imagination to create something you do not want.» — la voz hace del pensar una planeación y define la preocupación como uso de la imaginación para crear lo que no se quiere

«Every thought, every idea, every Being, every thing, is vibrational, so when you focus your attention on something, even for a short period of time, the vibration of your Being begins to reflect the vibration of that which you are giving your attention to. The more you think about it, the more you vibrate like it; the more you vibrate like it, the more of that which is like it is attracted to you. That trend in attraction will continue to increase until a different vibration is offered by you. And when a different vibration is offered, things that match that vibration are then drawn to you, by you.» — y describe la acumulación: cuanto más se atiende a algo, más se vibra como ello, y la tendencia solo cambia al ofrecer otra vibración

«When you understand the Law of Attraction, you are never surprised by what occurs in your experience, for you understand that you have invited every bit of it in—through your own thought process. Nothing can occur in your life experience without your invitation of it through your thought.» — la consecuencia más dura de la ley, dicha sin reserva: nada podría ocurrirle a nadie sin invitación suya por el pensamiento

«Because there are no exceptions to the powerful Law of Attraction, a thorough understanding of it is easy to achieve. And once you understand that you get what you think about, and, equally important, when you are aware of what you are thinking, then you are in the position to exercise absolute control of your own experience.» — y hace de la ausencia de excepciones la razón de que la ley sea fácil de entender, con el control absoluto por resultado

«There is a very big vibrational difference in your thoughts of appreciation of your mate, and in your thoughts of what you would like to be different about your mate. And your relationship with your mate, without exception, reflects the preponderance of your thoughts. For, while you may not have done it consciously, you have literally thought your relationship into being.» — el primer ejemplo del capítulo, la pareja, donde la voz atribuye la relación entera al pensamiento predominante de quien la tiene

«Your desire for an improved financial condition cannot come to you if you often feel jealous of your neighbor’s good fortune, for the vibration of your desire and the vibration of your jealous feelings are different vibrations.» — el segundo ejemplo, el dinero, donde los celos ante la fortuna ajena quedan puestos como vibración incompatible con el deseo propio

«You are Consciousness. You are Energy. You are Vibration. You are Electricity. You are Source Energy. You are Creator. You are on the Leading Edge of thought. You are the most specific, most active summoner and utilizer of the Energy that creates worlds, that exists anywhere in this always evolving, eternally becoming Universe.» — siete renglones con que la voz nombra al lector en serie, de Consciencia a Creador, y lo declara el convocador más activo de la energía que crea mundos

«Even though it may seem odd to you at first, it will be helpful for you to begin to accept yourself as a Vibrational Being, for this is a Vibrational Universe in which you are living, and the Laws that govern this Universe are Vibrationally based.» — la voz reconoce lo extraño que puede sonar el término y aun así lo pide, porque de él depende que las leyes que enuncia tengan sentido

«Once you become consciously at one with the Universal Laws, and gain an understanding of why things respond in the way they do, all mystery and confusion will be replaced by clarity and understanding. Doubt and fear will be replaced with knowledge and confidence, uncertainty will be replaced with certainty—and joy will return as the basic premise of your experience.» — y promete el reemplazo de misterio por claridad y de duda por conocimiento, con la alegría devuelta a premisa básica

«You cannot desire something, predominantly focus on the absence of it, and then expect to receive it, because the vibrational frequency of its absence and the vibrational frequency of its presence are very different frequencies. Another way of saying that is: Your desires and your beliefs must be a vibrational match in order for you to receive that which you desire.» — la voz exige que deseo y creencia coincidan, y es donde el volumen hace entrar la creencia como el segundo término del ajuste

«Now, as that happens, Source, who hears you and adores you, immediately answers your vibrational, electronic request, whether you are able to put conscious, verbal words to it or not.» — la Fuente contestaría siempre y de inmediato, con o sin palabras conscientes, que es la mitad del título del libro que el volumen da por resuelta

«So no matter what you ask for—whether you ask for it with your words, or with just a subtle impression of your desire—your request is heard and answered every time, no exceptions. When you ask, it is always given.» — y la fórmula del título enunciada dentro del cuerpo, sin excepciones y en presente

«Because of your exposure to your specific experience, which causes your specific desire to be formulated within you, and because Source hears and answers your request—the Universe, in which we are all focused, expands. What a wonderful thing!» — la voz hace de cada deseo personal contestado una expansión del universo, con lo que el interés propio queda puesto del lado del bien común

«So your importance is not in question, not to us anyway. We completely understand your immense value. Your worthiness is not in question, not to us anyway. We know that you deserve to have the Energy that creates worlds responding to your every desire—and we know that it does, but many of you, for many reasons, hold yourself apart from receiving the very things you are asking for.» — la voz retira del debate el valor y el merecimiento del lector, y adjudica la dificultad entera a que muchos se apartan de recibir

«We want you to rediscover your innate ability to allow the Well-Being of this Universe to flow steadily and unrestricted into your experience, and we call this discipline the Art of Allowing. It is the Art of Allowing the Well-Being—which makes up every particle of that which you are and that which you come from—to continue to flow through you as you continue to be. The Art of Allowing is the art of no longer resisting the Well-Being that you deserve; the Well-Being that is natural; the Well-Being that is your legacy, your Source, and your very Being.» — la voz nombra el Arte de Permitir, que es el término con que el matrimonio titula sus talleres, y lo define por lo que se deja de hacer y no por lo que se hace

«Now there are no preliminary courses for you to study in preparation for understanding what is presented here. This book is written so that you can begin to receive value from right where you» — y niega requisito previo alguno para leer el volumen; la frase se corta en el cambio de plana, donde termina en are

«Your current time-space-reality, your current culture, your current ways of looking at things—all of the things that make up your perspective—have evolved over countless generations. In fact, it would not be possible to retrace all the desires, conclusions, and perspectives that have resulted in your unique point of view right here and now.» — la voz acota lo que no se puede reconstruir, la cadena de generaciones que produjo el punto de vista de cada quien, para quedarse solo con que existe

«But what we want very much for you to hear is that no matter what has caused your unique point of view to come about—it has come about. You do exist; you are thinking; you are perceiving; you are asking—and you are being answered. And All-That-Is is benefiting from your existence and from your point of view.» — y remata la acotación: importa que el punto de vista haya llegado a ser, no de dónde viene, y de ahí hace beneficiario a todo lo que es

«We like to refer to the place where you are standing as the Leading Edge of Thought, for as you stand there—in your physical body, in your physical environment, having your physical experience —you are the furthermost extension of that which we are.» — la voz define en el capítulo 7 el término que le da título y coloca al lector como extensión más avanzada de ella misma

«All that has ever been before is culminating into that which you now are. And just as all of your experience, from the time of your birth into your physical body until now, has culminated into who you now are, all that has ever been experienced by All-That-Is has culminated into all that is now being experienced in the physical life experience on Planet Earth.» — y hace culminar en la experiencia física presente todo lo que ha sido, con el paralelo entre la vida de cada quien y la de todo lo que es

«As every person on your planet is having experiences that are causing their desires to be born, a sort of mass summoning is occurring, which literally equals the evolution of your planet.» — la voz llama convocatoria de masa a la suma de deseos de todos y la hace equivaler a la evolución del planeta

«In other words, because of what so many have lived and are living, and because of the summoning power of so many of their desires, the Well-Being of your future experience is well in place. And, in like manner, your current desires will, in turn, provide an Energy stream for future generations to benefit from.» — y hace del Bienestar futuro un depósito acumulado por lo vivido y pedido antes, con la obligación recíproca hacia las generaciones que siguen

«If your involvement in your time-space-reality inspires within you any sincere desire, then the Universe has the means to supply the results that you seek.» — la voz pone por única condición que el deseo sea sincero y declara que el universo tiene el medio de cumplirlo

«The Stream of Well-Being flows even if you do not understand that it does, but when you consciously become aligned with it, your creative endeavors become so much more satisfying, for then you discover that there is absolutely nothing that you desire that you cannot achieve.» — y separa el flujo del saber que se tenga de él: fluiría igual, pero solo al alinearse con conciencia daría lo que promete

«It is not necessary that you fully understand the complexities of this eternally expanding environment in order to reap the benefits of that which it has become, but it is necessary that you find a way to go with the flow of the Well-Being that is stretched out before you. So, in that effort, we offer these words: There is only a Stream of Well-Being that flows. You can allow it or resist it, but it flows just the same.» — la voz exime al lector de entender y le deja una sola tarea, ir con la corriente; es de los pocos sitios donde el volumen renuncia a explicarse

«You would not walk into a brightly lit room and look for the “dark switch.” In other words, you would not expect to find a switch that would flood an inky darkness into the room to cover the brightness of the light—you would find a switch that would resist the light, for in the absence of the light there is darkness.» — el símil del interruptor de oscuridad con que la voz niega que lo contrario de la luz tenga fuente propia

«And, in like manner, there is not a Source of “evil,” but there could be a resisting of that which you believe is Good, just as there is not a Source of sickness, but there could be a resisting of the natural Well-Being.» — y lleva el símil a dos términos de peso, el mal y la enfermedad, que quedan definidos por resistencia y no por origen; el proceso 21 retomará lo segundo

«Sometimes people will compliment Esther for being able to receive the wisdom of Abraham, and for putting it into written or spoken word for others to experience and receive benefit from, and we also add our appreciation to that. But we also want to point out that Esther’s receiving and translation of our vibration is only part of the equation. Without the asking that precedes it, there could be no answering.» — la voz habla de la persona que la traduce en tercera persona y reparte el mérito: la recepción de ella sería solo parte, y sin el pedir previo no habría respuesta

«So can you see how, if you can find a way to allow it, there is an avalanche of Well-Being at your fingertips, ripe for your plucking—provided you are in vibrational alignment with it? (And can you not see why—since there is never a crowd on the Leading Edge—you are not going to have a lot of people you can talk to about this?» — la voz pone el Bienestar al alcance de la mano y añade entre paréntesis el costo social de estar donde dice que se está, que en el borde no hay multitud con quien hablarlo

«These days, there are some people experiencing intense hardships or traumas, and because of how they are living right now, their asking is in a heightened and intense place. And because of the intensity of their request, Source is responding in kind. And although the person who is doing the asking is usually so involved in the trauma that they are not personally receiving the benefit of their own asking, future generations—or even current generations who are not, right now, disallowing—are receiving the benefit of that asking.» — la voz explica el caso duro sin retirar la ley: quien sufre pide con más fuerza y por estar metido en el trauma no recibe él mismo lo pedido, que iría a otros

«There is an unlimited Stream of Well-Being and an abundance of all manner of things available to you at all times—but you must be in alignment with the receiving of those things. You cannot stand in resistance of them and receive them at the same time.» — y cierra el punto con la exigencia de alineación, que es la manera en que el volumen hace compatibles la abundancia sin límite y la carencia efectiva

«See yourself, right where you are now, as the beneficiary of the powerful Stream of Well-Being. Try to imagine that you are basking in the flow of this powerful stream. Make an effort to feel yourself as the Leading-Edge beneficiary of this unlimited stream, and smile and try to accept that you are worthy of it.» — lo que el libro prescribe en este apartado, dicho por la voz: verse beneficiario de la corriente, imaginarse dentro de ella y aceptarse digno

«Your ability to feel your worthiness of the powerful Stream of Well-Being will undoubtedly depend on what is happening in your life right now. Under some conditions you feel utterly blessed, and under others you feel not so blessed, and it is our desire that, as you read this book, you will come to understand that to the degree you feel blessed and expect good things to flow to you, this indicates the level of your state of allowing; and to the degree that you do not feel blessed, where you do not expect good things to come to you, this indicates your degree of resistance.» — la voz convierte el sentirse o no bendecido en medida del permitir y del resistir, con lo que el estado de ánimo queda hecho instrumento de lectura

«We want you to understand that if it were not for resistant thoughts you have picked up along your physical trail that are not in vibrational alignment with the Stream of Well-Being, you would be,» — y adjudica a pensamientos recogidos por el camino la única diferencia entre recibir la corriente y no; la frase se corta en el cambio de plana

«You (and how you feel) is all that is responsible for whether you let in your inheritance of Well-Being or not. And while those around you may influence you, more or less, to allow or not allow that Stream, it is ultimately all up to you. You can open the flood- gates and let in your Well-Being, or your can choose thoughts that keep you pinched off from what is yours—but whether you allow it or resist it, the stream is constantly flowing to you, never ending, never tiring, always there for your reconsideration.» — la voz deja la responsabilidad entera del lado del lector, con la influencia ajena admitida y subordinada; el troceo parte floodgates por el guion de fin de renglón y span lo devuelve unido

«Nothing has to change in your environment or in the circumstances that surround you for you to begin to deliberately allow your own connection to the Stream of Well-Being. You could be in prison, you could have been diagnosed with a terminal illness, you could be facing bankruptcy, or you could be in the middle of a divorce. Still, you are in the perfect place, right now, to begin.» — la voz enumera cuatro situaciones extremas, la cárcel, el diagnóstico terminal, la quiebra y el divorcio, y declara que ninguna estorba el comienzo

«When you drive your vehicle from place to place, you have an awareness of your starting place as well as an awareness of where you are going. You accept that you cannot get there instantaneously; you accept that you will travel the distance, and in time, you will arrive at your destination. And while you may feel anxious to get there, and maybe even tire of the journey, you do not get so discouraged at the midway mark that you just turn around and go back to your starting place. You do not drive back and forth and back and forth from your starting point to the midway point and then finally collapse from the never-ending journey.» — el símil del viaje en coche con que la voz explica por qué la distancia no desanima cuando se acepta como distancia; el capítulo 14 lo retomará con San Diego y Phoenix

«You accept the distance between your starting place and where you desire to be—and you continue to move in the direction of your destination. You understand what is required—and you do it. And we want you to come to know that the journey between where you are and where you want to be—on all subjects—can be just as easily understood.» — y saca la moraleja del símil: aceptar la distancia y seguir en dirección al destino, dicho para cualquier materia

«Even more than the material being that you have come to know as you—you are a Vibrational Being. When someone looks at you, they see you with their eyes and hear you with their ears, but you are presenting yourself to them, and to the Universe, in a much more emphatic way than can be seen or heard: You are a vibrational transmitter, and you are broadcasting your signal in every moment of your existence.» — la voz define al lector como transmisor vibratorio por encima de lo que se ve y se oye de él, y declara la emisión continua

«As you are focused in this physical body, and while you are awake, you are constantly projecting a very specific, easily identifiable signal that is instantly received, understood, and answered. Immediately, your present and future circumstances begin to change in response to the signal you are offering now. And so, the entire Universe, right now, is affected by what you are offering.» — y acota la emisión a la vigilia, con la respuesta declarada inmediata y el universo entero dado por afectado

«The personality that is You is really an eternal personality, but who you are right now, and what you are thinking right now, is causing a focusing of Energy that is very powerful. This Energy that you are focusing is the same Energy that creates worlds. And it is, in this very moment, creating your world.» — la voz distingue la personalidad eterna del enfoque presente y hace de este el que crea, con la misma energía que dice crear mundos

«Your feelings are the representatives of your guidance system. In other words, the way you feel is your true indicator of your alignment with your Source, and of your alignment with your own intentions—both pre-birth and currently.» — la voz hace de los sentimientos los representantes de ese sistema y los refiere a dos alineaciones, con la Fuente y con las intenciones previas al nacimiento

«Every thought that has ever been thought still exists, and whenever you focus upon a thought, you activate the vibration of that thought within you. So, whatever you are currently giving your attention to is an activated thought.» — la voz declara permanentes todos los pensamientos pensados y hace de la atención lo que los activa; el glosario define en los mismos términos la Consciencia Colectiva

«But when you turn your attention away from a thought, it becomes dormant, or no longer active. The only way to consciously deactivate a thought is to activate another. In other words, the only way to deliberately withdraw your attention from one thought is to give your attention to another.» — y niega que un pensamiento pueda apagarse de frente: solo se desactiva activando otro, que es el mecanismo de los procesos de la segunda parte

«When you give your attention to anything, the vibration, at first, is not very strong, but if you continue to think about it or speak about it, the vibration gets stronger. So, with enough attention to any subject, it can become a dominant thought. As you give more and more attention to any thought, and as you focus upon it and therefore practice the vibration of it—the thought becomes an even bigger part of your vibration—and you could now call this practiced thought a belief.» — la voz define la creencia como pensamiento practicado y no como cosa distinta del pensamiento, que es la definición con que el volumen trabaja en el resto del cuerpo

«Because the Law of Attraction is behind the expansion of your thoughts, it is not possible to give your attention to something without achieving an alignment with it to some degree. And so, the longer you ponder the thought, and the more frequently you return to the thought, the stronger your vibrational alignment becomes.» — y niega que se pueda atender a algo sin alinearse con ello en algún grado, con el tiempo y la frecuencia por medida

«As you achieve a stronger alignment with any thought, you then begin to feel emotions that indicate your increased or decreased alignment with your own Source. In other words, as you give more of your attention to any subject, your emotional reading of either harmony or disharmony with who you really are becomes stronger.» — la voz hace crecer la señal emocional con la atención, de modo que cuanto más se piensa algo más claro se leería si concuerda o no con la Fuente

«your Being knows, you would feel the harmony of your thoughts in the form of good feelings. But if the subject of your attention is not in alignment with what your Source knows it to be, you would feel the disharmony of your thoughts in the form of bad feelings.» — la regla de lectura enunciada en sus dos mitades, buen sentir por acuerdo con lo que la Fuente sabe y mal sentir por desacuerdo; la frase arranca en la plana anterior

«Every thought that you give your attention to expands and becomes a bigger part of your vibrational mix. Whether it is a thought of something you want or a thought of something you do not want—your attention to it invites it into your experience.» — la voz iguala la atención a lo querido y a lo no querido, y llama invitación a las dos

«Since this is an attraction-based Universe, there is no such thing as exclusion. Everything is about inclusion.» — y niega la exclusión como mecanismo, que es la premisa de la que el volumen deriva su rechazo de la lucha contra lo no deseado

«You do not invite it in with your yes and exclude it with your no, because there is no exclusion in this attraction-based Universe. Your focus is the invitation. Your attention to it is the invitation.» — la voz remata el punto: el no no excluye, y lo que invita es el enfoque, sea cual sea el signo con que se ejerza

«And so, those who are mostly observers thrive in good times but suffer in bad times because what they are observing is already vibrating, and as they observe it, they include it in their vibrational countenance; and as they include it, the Universe accepts that as their point of attraction—and gives them more of the essence of it. So, for an observer, the better it gets, the better it gets; or the worse it gets, the worse it gets. However, one who is a visionary thrives in all times.» — la distinción entre el observador y el visionario, que es la que el proceso 16 convertirá en ejercicio con el nombre de pivotar

«With your practiced attention to any subject, the Law of Attraction delivers circumstances, conditions, experiences, other people, and all manner of things that match your habitual dominant vibration. And as things begin to manifest around you that match the thoughts you have been holding, you now develop stronger and stronger vibrational habits or proclivities. And so, your once small and insignificant thought has now evolved into a powerful belief—and your powerful beliefs will always be played out in your experience.» — y cierra el capítulo cerrando el circuito: lo manifestado refuerza el hábito vibratorio, el hábito se hace creencia y la creencia se juega siempre en la experiencia

«Your sense of sight is different from your sense of hearing, and your sense of smell is different from your sense of touch, but even though they are different, they are all vibrational interpretations. In other words, when you approach a hot stove, your sense of sight does not necessarily tell you that the stove is hot; your sense of hearing and your senses of taste or smell are not usually the way you recognize a hot stove either. But as you approach the stove with your body, the sensors in your skin let you know that the stove is hot.» — la voz abre el capítulo 9 con el ejemplo de la estufa caliente para mostrar que cada sentido interpreta vibración a su manera y que no todos sirven para lo mismo

«You were born with sensitive, evolved, sophisticated translators of vibrations that help you understand and define your experience. And in the same way that you utilize your five physical senses to interpret your physical life experience, you were born with other sensors—your emotions—which are further vibrational interpreters that help you understand, in the moment, the experiences that you are living.» — y suma las emociones a los cinco sentidos como un sensor más, de nacimiento y no adquirido, que es la tesis del capítulo

«Your emotions are your indicators of the vibrational content of your Being, in every moment. And so, when you become aware of the feeling of your emotions, you can also be aware of your vibrational offering. And once you combine your knowledge of the Law of Attraction with your in-this-moment awareness of what your vibrational offering is, then you will have full control of your own powerful point of attraction. With this knowledge, you can now guide your life experience in any way you choose.» — la voz junta la ley con la lectura emocional y de las dos hace el control del punto de atracción, que es la fórmula operativa de todo el volumen

«Your emotions—simply, purely, and only—are about your relationship with your Source. And since your emotions tell you everything that you would ever want or need to know about your relationship with your Source, we often refer to your emotions as your Emotional Guidance System.» — la voz reduce el contenido entero de la emoción a una sola cosa, la relación con la Fuente, y de ahí saca el nombre del sistema

«When you made the decision to come forth into this physical body, you fully understood your eternal connection to Source Energy, and you knew that your emotions would be constant indicators that would let you know, in every moment, your current relationship with Source Energy. And so, understanding the powerful guidance that you have eternal access to, you felt no sense of risk, no sense of confusion—only a sense of adventure and true exhilaration.» — y remonta la guía a la decisión previa al nacimiento del capítulo 2, con la ausencia de riesgo derivada de contar con ese indicador

«Although you can never achieve such a complete misalignment with Source that you disconnect from it altogether, the thoughts that you choose to give your attention to do give you a substantial range in alignment or misalignment with the Non-Physical Energy that is truly who you are.» — la voz niega que la desconexión pueda ser completa y a la vez concede un margen amplio de desajuste, que es la acotación que hace medible la escala

«And so, with time and practice, you will come to know, in every moment, your degree of alignment with who you really are, for when you are in full allowance of the Energy of your Source, you thrive, and to the degree that you do not allow this alignment, you do not thrive.» — y pone el prosperar y el no prosperar en proporción directa con el permitir, medido por la propia lectura emocional

«You are empowered Beings; you are utterly free to create, and when you know that, and are focused upon things that are in vibrational harmony with that, you feel absolute joy. But when you think thoughts that are contrary to that truth, you feel the opposite emotions of disempowerment and bondage. And all emotions fall somewhere within that range, from joy to disempowerment.» — la voz fija los dos extremos entre los que dice caber toda emoción, la alegría y la falta de poder, que son los que el capítulo 22 desplegará en veintidós grados

«When you think a thought that rings true with who you really are, you feel harmony coursing through your physical body: Joy, love, and a sense of freedom are examples of that alignment. And when you think thoughts that do not ring true with who you really are, you feel the disharmony in your physical body. Depression, fear, and feelings of bondage are examples of that misalignment.» — y da los ejemplos de cada lado, alegría, amor y libertad por acuerdo, y depresión, miedo y servidumbre por desacuerdo

«In the same way that sculptors mold clay into the creation that pleases them, you create by molding Energy. You mold it through» — la voz introduce el símil del escultor, que es la figura con que el capítulo cierra; la frase se corta en el cambio de plana

«your power of focus—by thinking about things, remembering things, and imagining things. You focus the Energy when you speak, when you write, when you listen, when you are silent, when you remember, and when you imagine—you focus it through the projection of thought.» — y enumera las operaciones con que dice que se enfoca la energía, entre ellas el imaginar, el hablar, el escribir y el callar

«Like the sculptors who, with time and practice, learn to mold the clay into the precise desired creation, you can learn to mold the Energy that creates worlds through the focus of your own mind. And, like the sculptors who, with their hands, feel their way as they recreate their vision—you will use your emotions to feel your way to Well-Being.» — el símil cerrado en sus dos mitades: la mente moldea como la mano del escultor y la emoción palpa como los dedos de él

«with indicators that help you understand the strength or power of your signal, as well as the direction of your focus. And, most important, it is this very same guidance system that helps you understand the alignment of your chosen thought with the Energy Stream itself.» — las tres lecturas que la voz atribuye al sistema de guía, fuerza de la señal, dirección del enfoque y alineación del pensamiento con la corriente; la frase arranca en la plana anterior, donde declara el sistema ya instalado en el lector

«The Creative Process is conceptually a simple one. It consists of just three steps: • Step 1 (your work): You ask. • Step 2 (not your work): The answer is given. • Step 3 (your work): The answer, which has been given, must be received or allowed (you have to let it in).» — los tres pasos que la voz enuncia en el capítulo 10 y a los que el volumen vuelve de continuo, con el reparto explícito de qué toca a cada quien; el segundo queda fuera del trabajo del lector

«Because of the wonderful and diverse environment in which you are focused, Step 1 comes easily and automatically, for this is how your natural preferences are born. Everything—from your subtle or even unconscious desires to clear, precise, vivid ones— results from the contrasting experiences of your day-to-day life. Desires (or asking) are the natural by-product of your exposure to this environment of fantastic variety and contrast. And so, Step 1 comes naturally.» — el primer paso declarado automático por el contraste del ambiente, de modo que pedir no sería para la voz una disciplina sino un subproducto de vivir

«Step 2 is a simple step for you, for it is not your work at all. Step 2 is the work of the Non-Physical, the work of the GOD Force. All things that you ask for, large and small, are immediately understood and fully offered, without exception.» — el segundo paso adjudicado íntegro a lo No Físico, que la voz nombra aquí con versalitas como Fuerza de Dios

«Your “asking” is sometimes spoken with your words, but more often it emanates from you vibrationally as a constant stream of personally honed preferences, each building on the next, and each one respected and answered.» — y desplaza el pedir de la palabra a una corriente continua de preferencias afinadas, cada una construida sobre la anterior

«Every question is answered. Every desire is given. Every prayer is answered. Every wish is granted. But the reason that many would argue with that truth, holding up examples of unfulfilled desires from their own life experiences, is because they have not yet understood and completed the very important Step 3—for without the completion of this step, the existence of Steps 1 and 2 could go unnoticed.» — la voz encara la objeción del deseo incumplido y la adjudica entera al tercer paso, que es donde el volumen coloca la dificultad

«Step 3 is the application of the Art of Allowing. It is really the reason your guidance system exists. It is the step whereby you tune the vibrational frequency of your Being to match the vibrational frequency of your desire.» — el tercer paso identificado con el Arte de Permitir y con la razón misma de que exista el sistema de guía

«Unless you are in the receiving mode, your questions, even though they have been answered, will seem unanswered to you; your prayers will not seem to be answered, and your desires will not be fulfilled—not because your wishes have not been heard, but because your vibrations are not a match, so you are not letting them in.» — y explica por qué lo contestado puede parecer no contestado: no por no haber sido oído sino por desajuste de frecuencia de quien recibe

«What you think and what you get is always a perfect vibrational match, so it can be very helpful to make a conscious correlation between what you are thinking and what is manifesting in your life experience, but it is even more helpful if you are able to discern where you are headed even before» — la voz propone correlacionar lo pensado con lo manifestado y añade que vale más leer el rumbo antes de llegar; la frase se corta en el cambio de plana

«Once you understand your emotions and the important messages they are giving you, you will not have to wait until something has manifested in your experience to understand what your vibrational offering has been—you can tell, by the way you feel, exactly where you are headed.» — y completa el punto: con la lectura emocional no haría falta esperar a la manifestación para saber qué se viene ofreciendo

«The reason that you are not always aware that your desires have been answered is because there is often a time gap between your asking (Step 1) and your allowing (Step 3). Even though a clear desire has emanated from you as a result of the contrast you have considered, you often, rather than giving your attention purely to the desire itself, focus back on the contrasting situation that gave birth to the desire. And in doing so, your vibration is more about the reason you have launched the desire than it is about the desire itself.» — la voz nombra el intervalo entre el pedir y el permitir y adjudica el fallo a mirar la situación que dio origen al deseo en vez del deseo mismo

«For example, your automobile is getting older and is beginning to require frequent repairs . . . and as you begin to notice its fading beauty, you find yourself desiring a new car. And as you very much wanted that feeling of confidence that a dependable new car brings, a vibrational rocket of desire emanated from you, and Source received it fully and responded, in kind, immediately.» — el ejemplo del coche viejo con que el capítulo ilustra el primer paso, con el deseo dado por lanzado y ya contestado

«So, instead of immediately turning your attention toward your fresh new desire and continuing to ponder the idea of this delicious new vehicle (thus achieving vibrational harmony with your own new idea) you look back at the vehicle you currently own, pointing out the reasons that you desire the new car. “This old car no longer pleases me,” you conclude, not realizing that in looking at the unpleasing car, you are tuning your vibration back to it, and not forward to the new car you desire.» — y la falla que describe: volver la atención al coche que se tiene para justificar el que se quiere, con lo que la vibración queda atada a lo viejo

«As long as you are more aware of what you do not want regarding this situation, what you do want cannot come to you. In other words, if you are predominantly thinking about your beautiful new car, then it is steadily making its way to you, but if you are predominantly thinking about your undependable current car, your dependable new car cannot move toward you.» — la regla sacada del ejemplo, con la simetría entre pensar en el coche nuevo y pensar en el viejo puesta como única diferencia

«It may seem difficult to make the distinction between actually thinking about your new car and beating the drum of the old car, but once you are aware of your Emotional Guidance System, this distinction will be very easy for you to make.» — la voz reconoce lo fino de la distinción entre pensar en lo deseado y repetir el tambor de lo que hay, y la resuelve por la lectura emocional

«It is not possible for you to consistently feel positive emotion about something and have it turn out badly, just as it is not possible for you to consistently feel bad about something and have it turn out well—for the way you feel will tell you if you are allowing your natural Well-Being or not.» — la voz niega los dos casos cruzados, sentirse bien y que salga mal y sentirse mal y que salga bien, con lo que el sentir queda hecho pronóstico

«Although there is no source of sickness, you may offer thoughts that disallow the natural flow of your wellness just as you may offer thoughts that disallow the natural flow of your abundance, although there is no source of poverty.» — y repite para la enfermedad y para la pobreza la negación de fuente propia que el capítulo 7 hizo para el mal

«For example, when you are appreciating something, you are a vibrational match to who you really are.» — la voz da por coincidencia consigo mismo el apreciar y el amar, incluido el amarse, que es lo que el proceso 1 convertirá en ejercicio

«But if you are finding fault with yourself or another, you are, in that moment, offering a vibration that does not match who you really are, and the negative emotion you feel is your indicator that you have introduced a» — y pone el reproche, propio o ajeno, del lado del desajuste; la frase se corta en el cambio de plana

«We often refer to that Non-Physical part of You as your Inner Being, or your Source. It is not important what you call that Source of Energy, or Life Force, but it is important that you are consciously aware of when you are allowing a full connection to it and when you are restricting it in some way—and your emotions are your constant indicators of your degree of allowing or resisting that connection.» — la voz nombra el Ser Interior y de inmediato retira importancia al nombre, para dejarla toda en la conciencia de si se permite o se resiste

«right and the ability to ask, and all points of Consciousness are honored and responded to immediately. When you ask, it is given. Every time.» — la voz universaliza el derecho de pedir a todo punto de consciencia y repite la fórmula del título sin excepción; la frase arranca en la plana anterior

«Every subject is really two subjects: There is that which you desire, and the lack of it. Often—even when you believe you are thinking about something that you desire—you are actually thinking about the exact opposite of what you desire. In other words, “I want to be well; I don’t want to be sick.” “I want to have financial security; I don’t want to experience a shortage of money.” “I want the perfect relationship to come to me; I don’t want to be alone.» — la voz parte todo asunto en dos y da tres ejemplos en primera persona, salud, dinero y pareja, donde la segunda mitad de cada par contradice vibratoriamente a la primera

«As you consciously consider the way you feel, you will get better and better at directing the Source Energy, and you will become a disciplined and joyous deliberate creator. With practice, you will be able to achieve a focused control of this Creative Energy, and, like the skilled sculptor, you will take delight in the molding of this Energy, which creates worlds, and direct it toward your individual creative endeavors.» — la voz abre el capítulo 11 poniendo la práctica por medio y vuelve al símil del escultor del capítulo anterior

«When you are thinking about something that you have been wanting for a very long time, and, in this moment, you are noticing that it has not yet happened, a strong negative emotion would be present within you, for you are thinking about something that has very strong energy that you are not in vibrational alignment with.» — y explica por qué el deseo viejo y no cumplido duele más: la energía acumulada haría más aguda la emoción negativa del desajuste

«wanting for a long time and you are imagining that it is happening, then your emotion would be one of anticipation or eagerness.» — el otro lado del mismo caso, con la imaginación puesta por lo que cambia el signo de la emoción; la frase arranca en la plana anterior

«And so, you can tell by the way you feel whether, in this moment, you are a match to your desire or a match to its absence; whether you are allowing or resisting your desire, or whether you are, in this moment, helping or hindering.» — la voz reduce la lectura a tres pares y la sitúa siempre en el momento presente, sin balance acumulado

«In your highly technologically evolved society where you have immediate access to almost everything that is happening around your planet, you are bombarded with thoughts and ideas that, at times, feel invasive to your personal experience. And so, the idea of controlling your thoughts when there are so many other thoughts coming forth seems impossible. It seems, instead, rather normal to just give your attention to whatever is in front of you.» — la voz concede lo invasivo del ambiente de información y lo normal que resulta atender a lo que se tenga delante, antes de pedir otra cosa

«We are not encouraging you to make an effort to control your thoughts, but instead, to make an effort to, more or less, guide your thoughts. And it is not even so much about guiding your thoughts as it is about reaching for a feeling, because reaching for the way you would like to feel is an easier way to hold your thoughts in vibrational alignment with that which you believe is good.» — la enmienda que da título al apartado: no controlar el pensamiento sino guiarlo, y mejor aún buscar un sentir, que la voz declara más fácil

«Remember, whenever you give your attention to a thought, that thought immediately becomes activated within you, so the Law of Attraction immediately responds, which means that other thoughts, in vibrational harmony with the thought that you have just activated, now join your activated thought, making it a more pronounced, more powerful, and more attractive thought. And as you continue your focus, and as your thought expands, that more powerful thought that you have just activated is joined by others like it . . . and on it goes.» — la voz describe el efecto de bola de nieve por el que un pensamiento atendido atrae otros semejantes y se hace más poderoso

«Whenever you have consistently focused upon a subject, causing a consistent vibrational activation of it within you, it becomes a practiced or dominant thought. And once that happens, things that match it will begin to manifest around your dominant thought.» — y define el pensamiento dominante por la constancia del enfoque, con la manifestación como paso siguiente

«now things that match your dominant thought will begin to show up in your experience: magazine articles, conversations with friends, personal observations . . . the attraction process will become very apparent. Once your focused attention has sufficiently activated a dominant vibration within you, things—wanted or unwanted—will begin to make their way into your personal experience. It is Law.» — la voz enumera las formas en que dice que empieza a aparecer lo dominante, artículos, conversaciones y observaciones, y repite la simetría entre lo querido y lo no querido; la frase arranca en la plana anterior

«Remember, before you can effectively benefit from paying attention to your emotions, you must first accept that Well-Being is the only Stream that flows. You can allow or disallow this Stream, but when you allow it, you are well; and when you disallow it, you are sick. In other words, there is only a Stream of wellness, which you are allowing or resisting, and you can tell by the way you feel which you are doing.» — la voz pone una premisa por delante de todo el método, que solo fluye la corriente de Bienestar, y de ahí hace depender salud y enfermedad

«You are supposed to thrive. You are supposed to feel good. You are good. You are loved, and Well-Being is constantly flowing to you, and if you will allow it, it will manifest in all manner of ways in your experience.» — cinco frases cortas con que la voz declara el prosperar, el sentirse bien y el ser bueno como lo debido, y no como lo logrado

«Each time you focus upon it, and each time you offer the vibration, it feels easier for you to do it the next time, until, in time, you develop a sort of vibrational proclivity. It is like practicing anything; it can get easier and easier. And with enough focusing on this thought, and therefore practicing this vibration, you form what you call a belief.» — y repite la definición de creencia por práctica que el capítulo 8 ya dio, con la comparación de practicar cualquier cosa

«A belief is only a practiced vibration. In other words, once you have practiced a thought long enough, then anytime you approach the subject of that thought, the Law of Attraction will take you easily into the full vibration of your belief. So now, the Law of Attraction accepts that belief as your point of attraction, and brings to you things that match that vibration. And so, as you have life experience that matches those thoughts you were pondering, you conclude, “Yes, this is truth.” And while it may be accurate to call it “truth,” we would prefer to call it attraction, or creation.» — la voz explica por qué lo creído acaba pareciendo verdad y prefiere llamarlo atracción o creación, con lo que retira a la palabra verdad su papel de juez

«Anything that you give your attention to will become your “truth.” The Law of Attraction says that it must. Your life, and everyone else’s, too, is but a reflection of the predominance of your thoughts. There is no exception to this.» — y lleva lo anterior a su extremo: la vida de cada quien sería reflejo del predominio de sus pensamientos, sin excepción

«To be the deliberate creator of your own experience, you will be the one who has decided to direct your thoughts, for only when you deliberately choose the direction of your thoughts can you deliberately affect your own point of attraction.» — la voz hace de la decisión de dirigir el pensamiento la condición única del creador deliberado

«You cannot continue to discuss, observe, and believe things in the same way you always have and make changes in your point of attraction, any more (as we mentioned previously) than you can set your radio dial to 630AM and receive the broadcast from 101FM. Your vibrational frequencies have to match.» — y vuelve al símil del dial con otras dos frecuencias, para negar que se pueda cambiar el punto de atracción sin cambiar lo que se piensa y se dice

«Every emotion that you feel is about your alignment or misalignment with the Energy of your Source. Your emotions are your indicators of the vibrational variance between your physical Being and your Inner Being, and when you pay attention to these emotions and try to focus on good-feeling thoughts, you are then using your Emotional Guidance System in the way that you intended when you decided to come into this physical body.» — la voz vuelve a reducir la emoción entera a la distancia entre el ser físico y el Ser Interior, y remite a la decisión previa al nacimiento

«Most of our physical friends are unaccustomed to viewing their lives in terms of vibrations, and they are certainly not accustomed to thinking of themselves as radio transmitters and receivers—but you do live in a Vibrational Universe, and you are more Energy, Vibration, or Electricity than you realize. Once you allow this new orientation and begin to accept yourself as a Vibrational Being who attracts all the things that come into your experience, then you will begin the delicious journey» — la voz reconoce lo poco habitual de verse a sí mismo como transmisor y receptor, y pide igualmente esa orientación; la frase se corta en el cambio de plana

«into Deliberate Creation. Once you begin to understand the correlation between what you are thinking, what you are feeling, and what you are receiving, now you have it. Now you hold all the keys that are necessary to get from wherever you are to wherever you want to be, on all subjects.» — el cierre del capítulo 11, que cifra el método entero en correlacionar lo pensado, lo sentido y lo recibido; la frase arranca en la plana anterior

«As you focus Creative Energy, there are two factors to consider: first, the intensity and speed of the Energy; and second, your level of allowing or resisting it. The first factor has to do with the amount of time you have spent considering your desire, and to what degree you have become specific.» — los dos factores con que la voz mide la creación, la intensidad de la energía y el grado de permitirla, con el tiempo de deseo puesto detrás del primero

«In other words, when you have been wanting something for a long time, your summoning power is much greater than if you are thinking about it for the first time today. Also, whenever you have considered it for some time, having experienced contrast that helped you to become even more specific about it, your desire summons it in an even more powerful way. Once a desire has achieved that sort of power or speed, it is quite easy for you to feel how you are doing with the second factor: the allowing or resisting part of the equation.» — y la consecuencia: a más tiempo y más detalle de deseo, más fuerza de convocatoria y más fácil sentir si se permite o se resiste

«Distinguishing between the actual thought of what you want, compared to the thought of its absence, is sometimes difficult. But distinguishing between your emotional response to your thought of your desire, and your emotional response to your thought of the absence of your desire, is a very easy thing to do.» — el núcleo práctico del capítulo, dicho por la voz: distinguir los dos pensamientos sería difícil y distinguir las dos emociones que provocan, fácil

«Because, when you are fully focused upon your desire (and your vibrational offering purely reflects that), you feel wonderful. And when you focus upon the absence of something that you truly want, you feel awful.» — y la razón de esa facilidad, con las dos sensaciones opuestas nombradas sin matiz

«Your emotions always let you know what you are doing with your vibration; your emotions always let you know exactly what your point of attraction is; and so, by paying attention to your emotions and by deliberately offering thoughts that affect the way you feel, you can consciously guide yourself into the vibrational frequency that will allow the fulfillment of any desire you hold.» — la voz cierra el apartado haciendo de la emoción el informe continuo del punto de atracción y la vía para entrar en la frecuencia que permitiría cualquier deseo

«Most people do not believe they have control over what they believe. They observe things happening around them and evaluate them, but they usually feel that they have no control whatsoever about the belief that is formulating within them. They spend their lives sorting events into categories of good or bad, wanted or unwanted, right or wrong—but rarely do they understand that they have the ability to control their personal relationship with these events.» — la voz abre el capítulo 12 separando dos cosas que da por confundidas, el control de los hechos y el control de la relación propia con ellos

«Since many people approve of some of the conditions that others have created but disapprove of others, they set out on the impossible mission of trying to control conditions. Through personal force or strength, or gathering together in groups to gain the feeling of more power or control, they seek to preserve their own Well-Being by attempting to take control of any circumstances that they believe could threaten it.» — y describe la respuesta que da por común, tomar control de las circunstancias por fuerza propia o en grupo, que llama misión imposible

«But, in this attraction-based Universe where there is no such thing as exclusion, the harder they push against unwanted things, the more they achieve vibrational alignment with unwanted things—and in doing so, the more they invite unwanted things into their own experience.» — la objeción de la voz a esa respuesta: empujar contra lo no querido alinearía con ello, de modo que la defensa produciría lo que combate

«And as more unwanted things now manifest in their experience, they shore up their own belief (they “prove it” to themselves) that they were right all along about how bad and invasive that unwanted thing was to begin with. In other words, the more you» — y describe el círculo por el que la manifestación refuerza la creencia que la produjo; la frase se corta en el cambio de plana

«defend your own beliefs, the more the Law of Attraction helps you live them out.» — el cierre de ese círculo, con la defensa de las propias creencias puesta como lo que más ayuda a vivirlas; la frase arranca en la plana anterior

«With enough attention to anything, the essence of what you have been giving thought to will eventually become a physical manifestation. And then as others observe your physical manifestation, through their attention to it, they help it to expand. And then, in time, this manifestation, whether it is one that is wanted or not, is called “Truth.”» — la voz explica la palabra que da título al apartado como resultado de una atención compartida, no como propiedad de lo real

«We want you to remember that you have absolute choices about the “Truths” that you create in your own experience. Once you understand that the only reason anyone ever experiences anything is because of their attention to the subject, then it is easy to see that “Truth” only exists because someone gave their attention to it.» — y saca de ahí la elección: lo que llama verdad existiría por haber sido atendido, y por eso podría elegirse cuál se hace propia

«So when you say, “I should give my attention to such and such, because it is true,” that is the same thing as saying, “Another gave their attention to something that they did not want, and by their attention to it they have invited it into their experience. And since they have attracted something unwanted into their experience, I should do it, also.» — la voz traduce el argumento de atender a algo por ser verdad, para mostrar lo que a su juicio dice en realidad; el pasaje es la objeción más explícita del volumen al realismo

«There are many wonderful things that you are making your Truths, and there are many not-so-wonderful things that you are making your Truths—Deliberate Creation is about deliberately choosing those experiences you make your Truths.» — y define la Creación Deliberada por la elección de cuáles de esas verdades se hace uno cargo

«said to you, “You are such a wonderful child. I love you so very much. You will have a fulfilling and happy life. You have so many talents, and the world will benefit by your presence.” These words felt good because they were a vibrational match to what was at the very core of you. But when someone says to you, “You are bad. You should be ashamed of yourself. You have displeased me. You are inappropriate,” these words feel awful because your attention to them has caused you to become vibrationally different from who you really are and what you really know.» — los dos ejemplos de infancia enfrentados, el elogio de la abuela y el reproche ajeno, con la explicación de por qué uno sienta bien y el otro mal según la voz

«When you continue to focus upon any thought, it becomes increasingly easy to continue to focus upon it because the Law of Attraction is making more thoughts like it available to you. And so, emotionally speaking, you are developing a mood or an attitude. Vibrationally speaking, you are achieving a habitual vibrational groove, so to speak—or a set-point.» — la voz define el punto de ajuste por el surco de vibración habitual y lo hace corresponder con lo que en lo emocional llama humor o actitud

«Your mood is showing you a good representation of what you are inviting into your experience. Your mood, or your general feeling about something, is a clear indication of your practiced vibration. In other words, whenever any subject is activated within you through your exposure to your environment, your vibration jumps immediately to your most practiced vibrational place, or set-point.» — y hace del humor el indicador legible del punto de ajuste, que salta de inmediato al activarse la materia de que se trate

«For example, let us say that when you were a child, your parents experienced severe financial difficulty. And so, the lack of money and the inability to purchase desired things was often discussed in your home, with the accompanying emotions of worry and fear. Often, in response to your request for something, you were told that “money doesn’t grow on trees,” and that “just because you want it doesn’t mean you’ll get it,” and that “you, like everyone else in this family, should learn to do without. That is just the way that it is. . . .» — el ejemplo del dinero, con las tres frases de la casa que la voz cita como formación del punto de ajuste

«Because of years of exposure to these thoughts of “lack,” your habit of thought around the subject of money—your Emotional Set-Point— became one of low expectation of financial success. And so, whenever you thought about money or abundance, your mood or attitude would immediately shift to disappointment, worry, or anger.» — y el resultado que le atribuye, un punto de ajuste de expectativa baja que hace saltar el humor al desencanto o al enojo ante el asunto

«someone who was experiencing such severe childhood trauma made you fearful for the Well-Being of your own parents. Whenever they traveled somewhere by automobile, you would be gripped by fear until they returned. And so, bit by bit, you developed a habit of worry about the Well-Being of those you loved. Your Emotional Set-Point became that of insecurity.» — el segundo ejemplo, el del accidente de la madre de un amigo, con la inseguridad por punto de ajuste; la frase arranca en la plana anterior

«Or, when you were a teenager, perhaps your grandmother suddenly died of a heart attack. And in the years that followed her death, you often heard your mother expressing her concern about the high probability of the same thing happening to her and her children (including you!). Nearly every time any conversation about your grandmother came up, her untimely heart attack became an emotional —and fear-producing—part of the conversation. Even though your body was strong and you continued to feel physically good, a concern about your own physical vulnerability rumbled under the surface. And so, over time, you achieved an Emotional Set-Point of physical vulnerability.» — el tercer ejemplo, el del infarto de la abuela repetido en la conversación de la madre, con la vulnerabilidad física por punto de ajuste pese al cuerpo sano

«In the same way that your Emotional Set-Points can change from feeling basically good or secure to feeling bad or insecure, your set-points can change from not feeling good to feeling good, for your set-points are achieved simply by attention to a subject, and through your practiced thought.» — la voz declara reversible el punto de ajuste por la misma vía que lo formó, la atención y el pensamiento practicado

«However, most people do not deliberately offer thought, but instead, they let their thoughts gravitate to whatever is happening around them: Something happens. They observe. They have an emotional feeling response to what they are observing.» — y describe la secuencia que da por común, observar, sentir y concluir que no se manda sobre lo que se siente

«We want you to understand that you do have absolute control over the set-points that you achieve. And we want you to understand the extreme value in deliberately achieving your own set-points. Because, once you expect something, it will come. The details of it may play out differently— but the vibrational essence will always be an exact match.» — el cierre del capítulo, con la expectativa puesta por lo que trae lo esperado y la acotación de que los detalles pueden salir distintos aunque la esencia coincida

«When your activated thoughts are general and not very focused, those early vibrations are still very small and do not yet have much attraction power or pulling power, so to speak. And so, in these early stages, you would not likely see any manifested evidence of your attention to the subject.» — la voz describe la etapa temprana del pensamiento, todavía sin fuerza de atracción y por eso sin prueba manifestada

«But even though you do not yet see the evidence, the attraction of other thoughts that are a vibrational match to these is occurring. In other words, the thought is becoming stronger; its pulling power is getting stronger, and other similar thought vibrations are joining it. And, as the thought gains momentum, you now begin to get an emotional reading on how well this growing thought-vibration is matching the Energy of your Source. If it matches who you are, your good-feeling emotions indicate that. If it does not match who you are, your bad-feeling emotions indicate that.» — y en esa misma etapa sitúa ya la lectura emocional, que es lo que hace del sistema un aviso anticipado y no un balance de lo ocurrido

«For example, when you were little, your grandmother may have» — la voz introduce el primero de sus ejemplos de infancia, el de la abuela; la frase se corta en el cambio de plana, donde siguen sus palabras

«Another important premise that is valuable to remember is that you are a physical extension of Source Energy, and t that an eternal Stream of Source Energy flows to you and through you—and that it is you. This Stream flowed before the physical Being that you know as you was born, and it will continue to flow once the physical Being that you know as you experiences what you call “death.”» — la voz abre el capítulo 13 haciendo al lector extensión de una corriente anterior y posterior a su vida física; el troceo imprime una t suelta antes de that y así va la cita

«Every living thing, animal, human, or plant, experiences that which is called death, with no exception. Spirit, which is who we really are, is eternal. So what death must be is but a changing of the perspective of that eternal Spirit. If you are standing in your physical body and consciously connected to that Spirit, then you are eternal in nature and you need never fear any “endedness,” because, from that perspective, there is none. (You will never cease to be, for you are eternal Consciousness.» — la voz define la muerte como cambio de perspectiva del Espíritu eterno y no como fin, con la consecuencia práctica de que no habría por qué temerla; la palabra acuñada que va entrecomillada es una de las que el Preface anuncia

«Your emotions let you know how much Source Energy you are summoning in this moment by virtue of the desire you hold in this moment. They also let you know whether your preponderance of thought on the subject matches your desire, or matches the absence of your desire. For example, a feeling of passion or enthusiasm indicates that there is a very strong desire focused in the moment; a feeling of rage or revenge also indicates that there is a very strong desire; however, a feeling of lethargy or boredom indicates very little focused desire in the moment.» — la voz separa dos lecturas dentro de la emoción, la fuerza del deseo y su dirección, y pone la rabia junto a la pasión como señales de deseo igualmente fuerte

«We call that: allowing. But when you really, really want something and are feeling anger or fear or disappointment, that means you are focused upon the opposite of your desire, and in doing so, you are introducing another non-matching vibration to the mix—and the degree of negative emotion that you are now experiencing indicates the degree of your resistance to your receiving of your desire.» — el otro lado, con el grado de emoción negativa puesto como medida exacta del grado de resistencia

«When emotions are strong—whether they feel good or feel bad— your desire is strong. When emotions are weak, your desire is not so strong. When emotions feel good—whether they are strong or weak— you are allowing the fulfillment of your desire.» — las cuatro reglas de lectura del capítulo, que cruzan fuerza con signo: la fuerza mide el deseo y el signo mide si se permite

«You may believe that you cannot control your emotions, or you may believe that you should control your emotions, but we would like you to approach your emotions in a different way: It is our encouragement that you pay attention to how you feel and allow your emotions to be the valuable indicators they are.» — la voz descarta las dos posiciones que da por comunes, no poder y deber controlar la emoción, y propone en su lugar atenderla como indicador

«When the fuel gauge on your vehicle indicates that the tank is empty, you do not criticize the indicator. You receive the information that it has offered you, and you do something about adding more fuel to your tank. Similarly, a negative feeling is an indicator that your current choice of thoughts has you offering a vibration that is so out of harmony with your Source Energy that you are currently disallowing your full connection to that Energy Stream. (You could say your tank is approaching empty.» — el símil del indicador de gasolina con que la voz pide no criticar la emoción negativa sino leerla y actuar sobre lo que señala

«Your emotions do not create, but they do indicate what you are currently attracting. If your emotions are helping you know that your choice of thoughts is not taking you in the direction that you desire to go, then do something about that: Replenish your connection by choosing better-feeling thoughts.» — la voz niega poder creador a la emoción y le deja el de indicar, y prescribe elegir pensamientos de mejor sentir como la reposición que el símil pide

«As we’ve touched on previously, much has been written about the power of positive thought, and we are certainly proponents of that. No better guidance has ever been offered to our physical friends than the words “Follow your bliss,” for in the steady reaching for bliss, you must surely align with the Energy of your Source. And in that constant alignment, your Well-Being is certain.» — la voz se declara partidaria del pensamiento positivo y recoge una fórmula ajena sin dar su autor, con el alineamiento con la Fuente por razón de aprobarla

«But when you find yourself engulfed in circumstances that cause you to offer a vibration that is far from that of bliss, then reaching for bliss is an impossible thing, for the Law of Attraction does not allow you to make that vibrational jump any more than you could have tuned your radio receiver to 101FM and heard a song that was being played on 630AM.» — y de inmediato le pone su límite: desde muy abajo el salto a la dicha sería imposible por la ley misma, que es la objeción del volumen al pensamiento positivo sin escala

«You have the ability to place your attention wherever you decide, so it is possible to distract yourself from something unwanted and put your attention upon something wanted. But when a vibration within you is one you have practiced a great deal, the tendency is to continue to offer the vibration in the way you have been practicing it—no matter how much you wish it to be different.» — y concede la dificultad: la vibración muy practicada tendería a repetirse por mucho que se quiera otra cosa

«It is not a difficult thing to change the pattern of your vibration, especially when you understand that you can do it a little bit at a time. Once you have an understanding of how vibrations work, how they affect your experience, and, most important, what your emotions are telling you about your vibrations, now you can make steady, fast progress toward the achievement of anything that you desire.» — la voz vuelve a poner el cambio al alcance de la mano con la condición de hacerlo poco a poco, que es el principio con que arma los procesos de la segunda parte

«It is not your job to make something happen—Universal Forces are in place for all of that. Your work is to simply determine what you want. You cannot cease your constant list of preferences, so your life experience helps you determine, at both conscious and unconscious levels, what you prefer, and how life, from your personal and important perspective, could now be better—and every conscious or unconscious offering (or asking) from you is answered by Source.» — la voz descarga al lector de hacer que las cosas ocurran y le deja una sola tarea, determinar lo que quiere

«When you have lived an experience that helps you understand, in an exaggerated way, the very thing you do not want, you also understand, in an exaggerated way, what you do want. But when you are painfully aware of what you do not want, you are not in alignment with what you do want. When you desire something that you do not believe is possible, you are not in alignment.» — la voz enumera cuatro estados que declara fuera de alineación, entre ellos desear lo que no se cree posible

«When there is something that you want and you are feeling unhappy that you do not have it, you are not in alignment; when you see someone who currently has the very thing that you desire and you feel jealous, you are not in alignment.» — y añade otros dos, la infelicidad por no tenerlo y los celos ante quien lo tiene

«If we were standing in your physical shoes, our attention would be upon bringing ourselves into alignment with the desires and preferences that we have launched—we would consciously feel our way into alignment.» — la voz dice qué haría en el lugar del lector, y es la única forma en que el capítulo da instrucción: sentir el camino hacia la alineación

«All of your desires, wants, or preferences emanate from you naturally and constantly, for you stand at the Leading Edge of a Universe that makes that so. So, you cannot hold your desires back; the eternal nature of this Universe insists that your desires come forth.» — la voz declara que el deseo no se puede retener, con la naturaleza eterna del universo por razón; es la objeción que el capítulo 22 hará a quien desee no desear

«This is the simple basis of this eternally expanding Universe: • Variety causes contemplation. • Contemplation produces preference. • Preference is asking. • Asking is always answered.» — la cadena de cuatro renglones en que la voz resume el mecanismo entero del volumen, de la variedad a la respuesta

«Regarding your creation of your own life experience, there really is only one important question for you to ask: How can I bring myself into vibrational alignment with the desires that my experience has produced? And the answer is simple: Pay attention to the way you feel, and deliberately choose thoughts—about everything—that feel good to you when you think them.» — la única pregunta que la voz declara importante y su respuesta, que es lo que el libro prescribe en este capítulo: atender al sentir y elegir a propósito los pensamientos que sienten bien

«When you really, really want something, and you are thinking about your desire and feeling pleasure from the thought, your thought vibration is now in alignment with your desire—and the current from» — la voz nombra el permitir por la coincidencia entre deseo y pensamiento placentero; la frase se corta en el cambio de plana, donde nombra la corriente de la Fuente

«You have the ability to direct your own thoughts; you have the option of observing things as they are, or of imagining them as you want them to be—and whichever option you choose, whether you are imagining or observing, is equally powerful.» — la voz iguala en poder el observar las cosas como son y el imaginarlas como se las quiere, que es la premisa de los procesos de imaginación de la segunda parte

«You have the option of remembering something as it actually occurred or imagining it as you would prefer. You have the option of remembering something that pleased you or remembering something that did not please you. You have the option of anticipating something you want or anticipating something you do not want. In every case, your thoughts produce a vibration within you that equals your point of attraction, and then circumstances and events line up to match the vibrations that you have offered.» — y despliega tres pares de opciones, recordar, recordar bien o mal y anticipar, con el mismo efecto atribuido a las seis

«As you made the decision to come into this body, you I knew that you were a creator and that the Earth environment would inspire your specific creation. You also knew that whenever you asked, it would be given. And you were thrilled at the prospect of being inspired to attain your own specific desires, understanding that Source would flow through you to achieve the completion of those desires.» — la voz vuelve a la decisión previa al nacimiento y le añade el saber de la fórmula del título; el troceo imprime una I suelta entre you y knew y así va la cita

«By always reaching for the feeling of joy, or Well-Being, you would always be moving toward that which you desire. • In the process of moving toward your desires, you would experience joy. • In this Earth-plane environment, you would have sufficient leeway to mold your vibration into a pleasing position for the attraction of a wonderful life experience. • Since Well-Being is the basis of this wonderful Universe, you would have sufficient opportunity—through a continual offering of thought—to mold your own thoughts into pleasing life experiences. • Well-Being abounds, so you felt no risk or concern about the contrasting environment into which you were moving.» — los cinco primeros puntos de lo que la voz dice que el lector sabía de antemano, con la alegría puesta por brújula y la ausencia de riesgo por consecuencia

«Variety would help you choose your specific life. • Your work was to direct your thoughts, and that in doing so, your life would unfold. • You are an eternal extension of Source Energy, and that the basis of that which you are is good. • You would be able to easily allow the Well-Being of your origin, and of your Source, to steadily flow through you. • You could never get far from your Source, and that you could never completely pinch yourself off from it.» — la segunda tanda de ese saber previo, donde la voz declara buena la base de lo que cada quien es e imposible el apartarse del todo de la Fuente

«You would experience immediate emotions to help you understand the direction of your thought, and that your emotions would instantly tell you if you were, in any moment, moving toward or away from what you desired. • You would know, by the way you were feeling, moment by moment, how much you were allowing your connection to your Stream of Well-Being. And so, you came forth into this Earth experience with eager anticipation of a wonderful life.» — y los dos puntos que ponen la emoción por instrumento inmediato de dirección, con la anticipación de una vida buena por estado de llegada

«And you also knew that there would not be an immediate manifestation of any thought, so that you would have ample opportunity to mold, evaluate, decide, and enjoy the Creative Process.» — la voz declara deliberada la demora entre el pensamiento y su manifestación, y la presenta como concesión y no como obstáculo

«We refer to that time between your offering of a thought and its physical manifestation as “the buffer of time.” This is that wonderful time of offering thought, noticing how it feels, adjusting the thought to achieve an even better feeling, and then, in an attitude of absolute expectation, enjoying the gentle, steady unfolding of anything and everything that you have concluded as your desires.» — y nombra ese intervalo el amortiguador de tiempo, que es el término con que el volumen justifica que nada se manifieste de golpe

«There is never a reason for you to be without something that you desire. Nor is there ever a reason for you to experience something that you do not desire—for you hold absolute control of your experiences.» — la afirmación más dura del capítulo, con el control declarado absoluto en las dos direcciones

«Sometimes our physical friends disagree with that powerful statement, for they often find themselves without something that they desire, or with something that they do not desire. And so, they argue that they must not really be the creator of their own experience, for they would not have done that to themselves; if they were really in control, things would be different.» — la voz consigna la objeción que dice recibir, que nadie se haría eso a sí mismo, antes de contestarla

«The only reason that you could ever experience something other than what you desire is because you are giving the majority of your attention to something other than what you desire.» — y la contesta con una sola causa, dar la mayor parte de la atención a otra cosa; la frase arranca en la plana anterior

«The Law of Attraction always yields to you the essence of the balance of your thoughts. No exceptions. You get what you think about— whether you want it or not. And in time, with practice, you will come to remember that the Law of Attraction is always consistent. It never tricks you. It never deceives you. It never confuses you, for the Law of Attraction responds precisely to the vibration that you are offering.» — la voz declara constante la ley y le niega engaño, trampa y confusión en tres frases paralelas

«But the confusion, for many, comes because they are offering vibrations that they do not realize they are offering. They know that they hold a desire in a specific direction, and they know that their desire has not yet come to them, but what they often do not realize is that they are offering the majority of their thoughts in opposition to their own desire.» — y adjudica la confusión a ofrecer vibraciones sin saberlo, con la mayoría del pensamiento puesta en contra del propio deseo

«The basis of your world is one of Well-Being. You can allow it or not, but the basis is Well-Being. The Law of Attraction says: That which is like unto itself, is drawn. And so, the essence of whatever you give your attention to is unfolding in your experience. Therefore, there is nothing that you cannot be, do, or have. This is Law.» — la voz junta en un párrafo la base de Bienestar, la fórmula de la ley y la promesa del volumen, y lo declara ley

«So if all of this is true (and it is our absolute promise to you that it is true), then how is it that so many are experiencing so much of what they do not want?» — la voz se plantea a sí misma la objeción de hecho, y lo hace sin retirar la promesa que acaba de dar

«Consider this question: If I am in Phoenix, Arizona, and it is my desire to be in San Diego, California, how would I go about getting to San Diego? The answer to this question is easy to hear: No matter what your mode of transportation—by air, by car, or even on foot—if you will face in the direction of San Diego, and continue to move in the direction of San Diego, then you must reach San Diego.» — el símil de las dos ciudades con que el capítulo contesta esa objeción, y del que el volumen vuelve a servirse en el capítulo 17

«Once you understand the clarity that your emotions provide, you will never again not know what you are doing with your current thought. You will always be aware of whether you are, in this moment, moving toward or away from your intended goal or desire. Your awareness of the way you feel will give you the clarity you have been seeking—and you will never be lost in the desert again. Once you have the knowledge that you are moving in the direction of your desires, you may begin to relax a little bit and enjoy the fantastic journey.» — el cierre del capítulo, con la emoción puesta por brújula del símil y la invitación a disfrutar el trayecto una vez sabido el rumbo

«If you head toward San Diego, but then you lose your sense of direction and you head back toward Phoenix, and then you get turned back around again and you head toward San Diego, and then you get confused again and you head back toward Phoenix . . . you could potentially spend the rest of your life experience just moving back and forth, and you could, conceivably, never arrive in San Diego.» — la voz desarrolla el símil por el lado del ir y venir, y admite que así no se llegaría nunca

«But because of your knowledge of direction, and with the help of road signs and other travelers, it is not logical that you would remain forever lost in the Arizona desert unable to find your way to San Diego. The 400-mile trip between the two cities is easily understood, and the idea of making the trip is completely believable, and if it were your desire to make the trip, you would find a way to do so.» — y hace notar que en un viaje real nadie se perdería para siempre, porque la distancia se entiende y el trayecto se cree posible

«For example, the thing that makes it seem more difficult to travel from financial insolvency to financial abundance is that you have not been aware when you were turned around and headed in the opposite direction. And, the only reason that your trip has not taken you from no relationship to the perfect, fulfilling, rewarding relationship you desire is that you have not been aware of the power of your thoughts and words that were taking you back to Phoenix.» — la voz traslada el símil al dinero y a la pareja, y adjudica la dificultad a no notar cuándo se va en sentido contrario

«You clearly understand all of the factors involved in transporting yourself from Phoenix to San Diego, but you have not understood the factors involved in transporting yourself from sickness into fabulous health, from the absence of the relationship you have wanted to the fulfillment of this wonderful relationship, or from barely scraping by financially to having the freedom to do the things you really want to do.» — y opone lo entendido del viaje real a lo no entendido de los tránsitos de salud, pareja y dinero, que son las tres materias del volumen

«As your experience expands, your desire expands. • As your desire expands, the answering of your desire expands. • And the Universe expands—and that is good. In fact, it is perfect.» — la segunda mitad de la cadena, que cierra el circuito entre experiencia, deseo y respuesta y lo declara perfecto; la serie arranca en la plana anterior

«With each receiving of that which you are asking for, you achieve a new vantage point from which you spontaneously ask again.» — la voz niega punto de llegada: cada cosa recibida daría un mirador nuevo desde el que se vuelve a pedir

«You live in an expanding Universe. ○ You live in an expanding physical world. ○ You are an expanding Being. ○ And all of this is, whether you consciously understand it or not. ○ This Universe is eternally expanding, and so are you. ○ And that is good.» — los seis renglones con que la voz resume el capítulo, con la acotación de que todo eso valdría se entienda o no

«We eagerly offer our perspective to you for one reason only: so that you may consciously participate in your own delicious expansion. Your expansion is a given; the expansion of your time-space-reality is a given, and the expansion of this Universe is a given. It is just ever so much more satisfying for you to consciously and deliberately participate in your own expansion.» — la voz declara un solo motivo para hablar, que el lector participe a sabiendas de una expansión que dice que ocurre igual; es de los sitios donde el volumen acota más su propia utilidad

«Once you understand your own Emotional Guidance System, you will never again offer your vibrations in ignorance. And in time, you will achieve such keen awareness of your own valuable emotions that you will know, in every moment, if the thought that you are currently focusing on is taking you toward, or away from, something you desire. You will learn to literally feel your way to the things that you desire, on all subjects.» — la voz promete que con esa lectura no se volverá a ofrecer vibración a ciegas, y describe el resultado como sentir el camino hacia lo deseado; el volumen repite esta misma fórmula más adelante

«When a desire is focused within you, the summoning of Creative Life Force immediately begins to flow toward your desire—and the Universe expands. And that is good. • Your conscious realization of the Creative Process is not necessary in order for it to continue. • The Leading-Edge environment that you are physically focused in will continue to stimulate new desires in all who participate. • Every desire or preference, no matter how large or small it may seem to you, is understood and answered by All-That-Is. • As every desire from every perceiver is answered, the Universe expands. • As the Universe expands, the variety expands.» — y el resto de la primera mitad de la cadena, donde cada deseo contestado expande el universo y la expansión devuelve más variedad

«You are a physical extension of Source Energy. • The physical world you live in provides a perfect environment in which to create. • The variety that exists helps you focus your own personal desires or preferences.» — los tres primeros puntos de la cadena con que la voz arma el capítulo 15, del lector como extensión de la Fuente a la variedad como medio de enfocar lo propio; la primera de las tres fórmulas se repite en otras planas del volumen

«If you have the ability to imagine it, or even to think about it, this Universe has the ability and the resources to deliver it fully unto you, for this Universe is like a well-stocked kitchen with every ingredient imaginable at your disposal. And within every particle of this Universe is that which is wanted and the lack of it. This perspective of abundance, and the lack of it, is the environment in which focus is possible—and focus activates the Law of Attraction.» — la voz abre el capítulo 16 con el símil de la cocina bien surtida y hace de la coexistencia de lo querido y su falta la condición misma del enfoque

«If you do not have the ability to know what you do want, you will not have the ability to know what you do not want. And without the ability to know what you do not want, you could not know what you do want. And so, it is through your exposure to life experience that your natural preferences are born.» — y hace depender cada término del contrario, de modo que la variedad no querida queda puesta como requisito del preferir

«Even the cells of your well-tended-to body are having their own experience and are emanating their own preferences—and every preference is recognized by Source and immediately answered, with no exceptions.» — la voz baja el mecanismo hasta la célula, que tendría experiencia y preferencia propias; el proceso 21 construirá sobre eso su tratamiento de la salud

«Sometimes our physical friends express their desire for a less diverse Universe. They long for a place where there are not so many unwanted things, a place where more things are exactly as they prefer them to be.» — la voz consigna el deseo de un universo menos diverso que dice oír, antes de objetarlo

«This is an expanding Universe, and all things must be allowed. In other words, for you to understand and experience what you desire, you must understand that which you do not desire, for, in order to be able to choose and focus, both must be present and understood.» — y lo objeta por la lógica del enfoque: sin lo no deseado presente y entendido no habría elección posible

«As you enthusiastically made the decision to come into this physical body and create in this way, you understood, from your Non-Physical vantage point, that this physical world was not broken and in need of repair—and you did not come forth to fix it.» — la voz niega que el mundo estuviera roto y que la tarea fuera repararlo, que es la afirmación con que el volumen se aparta de la reforma y del activismo

«You saw this physical world as a creative environment in which you, and everyone else, could express yourselves creatively—you did not come forth to try to get others to stop doing what they are doing and do something else. You came forth understanding the value in the contrast, and the balance in the variety.» — y niega también el propósito de hacer que otros dejen de hacer lo que hacen, con el contraste puesto por valor y no por defecto

«Every physical Being on your planet is your partner in co-creation, and if you would accept that and appreciate the diversity of beliefs and desires— all of you would have more expansive, satisfying, and fulfilling experiences.» — la voz hace socio en la creación a cualquier otro y condiciona la mejora propia a apreciar la diversidad de creencias ajenas

«Imagine yourself as a chef in an extremely well-stocked kitchen that contains every imaginable ingredient. Let us say that you have a clear idea of the culinary creation you desire, and you understand how to combine these easily accessible ingredients in order to fulfill your desire. And as you proceed, there are many ingredients that are not appropriate for your creation, so you do not utilize them, but you also feel no discomfort about their existence. You simply utilize the ingredients that will enhance your creation—and you leave the ingredients that are not appropriate for your creation out of your pie.» — el símil del cocinero que da título al apartado, donde los ingredientes que no sirven se dejan fuera sin incomodidad

«Some of the ingredients in this well-stocked kitchen are harmonious with your creation, and some of them are not. But even though adding some of these ingredients to your creation would absolutely ruin your pie, you do not feel the need to push against those ingredients, or to ban them from the kitchen, because you understand that there is no» — y saca de ahí la objeción a empujar contra lo no querido o a prohibirlo; la frase se corta en el cambio de plana

«reason for them to end up in your pie unless you put them in it. And since you are clear about which ones enhance your creation and which ones do not enhance it, you feel no concern about the great variety of ingredients that exist.» — el cierre del símil, con la claridad sobre lo propio puesta como lo único que hace innecesario preocuparse por la variedad ajena; la frase arranca en la plana anterior

«From your Non-Physical perspective of the enormous variety of experiences, beliefs, and desires that exist among the people of your world, you felt no need to omit or control some of them. You understood that there is room enough in this expansive Universe for all manner of thought and experience. You had every intention of being deliberate about your own creative control of your own life experience and your own creations— but you had no intentions of trying to control the creations of others.» — la voz separa el control deliberado de lo propio del intento de controlar lo ajeno, y declara el segundo ausente de la intención previa al nacimiento

«The variety did not frighten you, but instead, inspired you, for you knew that you were each the creator of your own experience, and you understood that your exposure to the contrast would inspire specific directions within you, and that just because others may choose differently, it did not make you right and them wrong, or them right and you wrong. You understood the value of the diversity.» — y retira del asunto el par de tener razón y no tenerla, que es como el volumen despacha la disputa de creencias

«So from the variety or contrast, your own preferences or desires are born. And in the moment that your preference begins to exist, it begins to draw to itself, through the Law of Attraction, the essence of that which matches it—and it then begins an immediate expansion.» — la voz describe el primer tramo del ciclo, del contraste a la preferencia y de la preferencia a su expansión por la ley

«But, along with this newly achieved physical manifestation of your desire comes an evolved perspective. And so, the vibrational characteristics of you and everything about you have shifted somewhat, and you have moved into a new set of contrasting circumstances that will again inspire new preferences within you—and now, new rockets of desire emanate from you.» — y el segundo tramo, donde lo manifestado cambia el punto de vista y de ahí nacen deseos nuevos, de modo que el ciclo no cierra

«This is how the Universe expands, and this is why you are on the Leading Edge of the expansion. The valuable contrast continues to provide the birthing of endless new desires, and as each desire is born, Source responds to the desire. It is a never-ending, always flowing, pure, positive Energy expansion.» — la voz cierra el ciclo y lo declara sin fin, con el contraste por partera de cada deseo nuevo

«If your goal is to, finally, once and for all, achieve all that you desire, you will find yourself unable to ever fulfill that goal, for the expanding nature of this Universe defies that idea. You cannot ever get it done because you cannot ever cease to be, and neither can you ever halt your awareness. Yet, out of your awareness will always be born another asking, and each asking always summons another answering.» — y declara imposible el propósito de acabar con todos los deseos, por la naturaleza expansiva del universo y no por defecto de quien lo intenta

«Your eternal nature is one of expansion—and in that expansion is the potential for unspeakable joy.» — la voz pone en la expansión misma el potencial de la alegría, con un adjetivo que remite a la palabra que Jerry Hicks glosa en el Preface

«So, the contrast causes new desire to be born within you. The new desire radiates from you, and as you offer the vibration of your new desire, that desire is answered. Every time. When you ask, it is given.» — el mecanismo resumido en cuatro frases y rematado con la fórmula del título del volumen

«Consider the perfection of this Universal environment: Every point of Consciousness is improving its state of being in just the same way as you, where every desire is understood and answered, and every perspective is honored and responded to.» — la voz extiende la respuesta a todo punto de consciencia y no solo al humano, con lo que retira al lector el privilegio sin retirarle la atención

«Feel the balance and perfection of your environment: Every point of Consciousness, even the Consciousness of a cell in your body, can request an improved state of being—and get it.» — y vuelve a bajar el mecanismo hasta la célula del cuerpo, que podría pedir mejora y obtenerla

«Each point of view matters; every request is granted; and as this amazing Universe unerringly expands, there is no end to the Universal resources that fulfill these requests. And there is no end to the answers to the never-ending stream of questions—and for that reason, there is no competition.» — la voz deriva de la abundancia sin fin la ausencia de competencia, que es la tesis del último apartado del capítulo

«It is not possible for someone else to receive the resources that were meant for you, and you cannot selfishly squander resources that were intended for someone else. All desires are answered; all requests are granted, and no one is left unanswered, unloved, or unfulfilled. When you stay aligned with your Energy Stream, you always win, and somebody else does not have to lose for you to win. There is always enough.» — y niega las dos formas del despojo, recibir lo ajeno y derrochar lo de otro, con la victoria declarada sin perdedor

«Sometimes our physical friends have a difficult time remembering this truth because they may experience some shortage in their experience, or observe it in the experience of another. But what they are witnessing is not an evidence of shortage or a lack of resources, but instead the disallowance of the receiving of the resources that have been requested and answered. Step 1 has occurred: The asking is in place. Step 2 has occurred: The answering is in place. But Step 3, the allowing, has not occurred.» — la voz encara la escasez observada y la explica por el tercer paso no cumplido, no por falta de recursos

«If someone is not receiving what they are asking for, it is not because there is a shortage of resources; it can only be that the person holding the desire is out of alignment with their own request. There is no shortage. There is no lack. There is no competition for resources. There is only the allowing or the disallowing of that which you are asking for.» — el cierre del capítulo, que adjudica cualquier carencia al desajuste de quien pide y niega tres veces que haya escasez

«Once you consciously observe, from your own creative perspective, how each new achievement leads to another new desire, you will begin to personally understand your part in this expansive Universe. And, in time, you will come to remember that you never get it done because you never cease your awareness of the contrast out of which is always born a new idea or desire. The entire Universe is established in that way.» — la voz condiciona el entender el propio papel a observar que cada logro trae otro deseo, y de ahí que la tarea no termine

«And as you begin to relax into the idea that you are an eternal Being, that your desires will never cease to flow, and that any desire that is born has the power within it to attract (by Law of Attraction) all that is necessary for the expansion and fulfillment of itself, then you may remember the immense Well-Being upon which this Universe is established, and, you may then relax into the eternal nature of your own Being. It is then that you will begin to enjoy your journey.» — y hace del disfrute del trayecto el resultado de aceptar esa condición, no de haberla superado

«Have you seen the Global Positioning navigational systems that are available in vehicles today? An antenna on the roof of your vehicle sends a signal to satellites in the sky that identify your current location. Once you enter your desired destination into the keypad, the computer calculates the route between where you are and where you want to go. The monitor informs you of the distance you have to travel and recommends the best route to get there, and once you begin, the system will give you (by spoken word or by text) specific directions to lead you to your new destination.» — la voz abre el capítulo 17 con el símil del navegador por satélite, que es la figura con que el volumen presenta el sistema de guía emocional

«The navigational system never asks: “Where have you been?” It does not ask: “Why have you been there so long?” Its only mission is to assist you in getting from where you are to where you want to be. Your emotions provide a similar guidance system for you, for their primary function is also to help you travel the distance from where you are to wherever you want to be.» — y saca del símil lo que le importa: que el instrumento no pregunta por el pasado ni pide cuentas, solo mide la posición presente

«It is extremely important that you know where you are in relationship to where you want to be in order to effectively move closer to where you want to be. An understanding of both where you are and where you want to be is essential if you are to make any deliberate decisions about your journey.» — la voz pone el saber dónde se está al mismo nivel que el saber adónde se va, y hace de las dos cosas el requisito de toda decisión

«You are deluged with laws, rules, and expectations that are imposed by others, and almost everyone seems to have an opinion about how you should behave. But it is not possible for you to stay on track between where you are and where you want to be if you are using those kinds of» — la voz nombra las influencias que da por incompatibles con el rumbo propio, leyes, reglas y expectativas ajenas; la frase se corta en el cambio de plana

«Often you are pulled this way and that in an attempt to please another, only to discover that no matter how hard you try, you cannot consistently move in any pleasing direction, and so, you not only do not please them, but you also do not please yourself. And because you are being pulled in so many different directions, your path to where you want to be usually gets lost in the process.» — y describe el resultado de guiarse por ellas, no complacer a nadie y perder el propio camino en el intento

«The greatest gift that you could ever give to another is your own happiness, for when you are in a state of joy, happiness, or appreciation, you are fully connected to the Stream of pure, positive Source Energy that is truly who you are. And when you are in that state of connection, anything or anyone that you are holding as your object of attention benefits from your attention.» — la voz invierte la caridad: el mayor regalo sería la propia felicidad, porque es lo que pone en contacto con la corriente de la que otros se beneficiarían

«No one else needs you to be or do things for them in order for them to be fulfilled—for all of them have the same access to the Stream of Well-Being that you do. Often, others (who do not understand that they have access to the Stream) suffer in their inability to hold themselves in a place of feeling good, and ask you to behave in a way that they believe will make them feel better. But not only do they hold you in a place of discomfort as they try to make you responsible for their joy, they hold themselves in a place of bondage as well. For they cannot control the way any other behaves, and if that control is necessary for their happiness, then they truly are in trouble.» — y objeta el arreglo por el que alguien hace responsable a otro de su alegría, que dejaría a los dos atados

«Your happiness does not depend on what others do, but only upon your own vibrational balance. And the happiness of others does not depend on you, but only on their own vibrational balance, for the way anyone feels, in any moment, is only about their own mix of Energies.» — la regla en sus dos direcciones, que es como el volumen despacha a la vez la culpa y la obligación en las relaciones

«There is nothing in all of the Universe more important for anyone to understand than how the vibration they are offering is matching the vibrations of their desires, and the way you feel is your indicator of whether you are allowing your connection to Source or not. Every good feeling; every positive creation; all your abundance, clarity, health, vitality, and Well-Being—and all the things that you consider» — la voz declara que nada importa más que la coincidencia entre lo que se ofrece y lo que se desea; la frase se corta en el cambio de plana

«Just as it is easy for you to contemplate a successful trip from Phoenix to San Diego, it will be easy for you to contemplate a successful trip from financial insecurity to financial security, from sickness to wellness, from confusion to clarity. . . . On your trip from Phoenix to San Diego, there will be no major unknowns, for you understand the distance between the two cities, you know where you are along the way, and you understand what moving in the wrong direction means to your success.» — la voz vuelve al símil de las dos ciudades y lo aplica a tres tránsitos, dinero, salud y claridad

«If you are using any other influence as your source of guidance, you will get lost and go off track, for no others understand, as you do, the distance between where you are and where you want to be. But even though they cannot understand your desires purely, they will still continually add their desires to the mix. And so, only when you pay attention to the way you feel can you guide yourself steadily toward your own goals.» — y acota por qué el consejo ajeno no sirve de brújula: nadie más conocería esa distancia, y aun de buena fe añadiría sus propios deseos

«Your vibrational Universe has the Law of Attraction as its basis. That means that your Universe is about inclusion. When you give your attention to something that you desire and you say yes to it, you are including it in your vibration. But when you look at something you do not want and you say no to it, you are including it in your vibration. When you give no attention to it, you do not include it, but you cannot exclude anything that you are giving your attention to, because your attention to it includes it in your vibration, every time, without exception.» — el cierre del capítulo 17, que explica el título del apartado: el no incluiría igual que el sí, y solo el no atender dejaría fuera

«Just because you make the decision to find a different thought, it does not necessarily mean that you can go directly to that thought right now, for the Law of Attraction has something to say about the thoughts you have access to from where you are. Of course, there is no thought that you cannot eventually have—just as there is no place that you cannot eventually reach from wherever you are—but you cannot instantly jump to a thought that has a vibrational frequency very different from the thoughts you are usually thinking.» — la voz abre el capítulo 18 poniendo un límite a la elección de pensamiento, que es lo que hace gradual el método del volumen

«As you discover that you can always know the vibrational content of your Being, and can therefore always be aware of what your point of attraction is, you will then be in conscious creative control of your own experience. And once you understand that your emotions are giving you specific feedback about your vibrational content, then you can proceed with the deliberate and gradual adjustment of your» — y hace de la lectura emocional la realimentación con que se ajusta la vibración poco a poco; la frase se corta en el cambio de plana

«Choosing a different thought will always produce a different emotional response. So you could say, “I will deliberately choose my thoughts so that I can feel better.” That would be a good decision for you to make. An even better decision, and really, an easier one to make is: “I want to feel good, so I will try to feel good by choosing a thought that does feel good.» — la voz compara dos formulaciones del propósito y prefiere la que parte del sentir y no la que parte del pensar; el volumen prescribe siempre la segunda

«If it is your decision to “follow your bliss,” and you have been focusing on a life situation that is nowhere near bliss, your decision to follow your bliss would be unsuccessful because the Law of Attraction cannot deliver a thought that holds such a dramatic vibrational difference. But if your decision is to reach for the best-feeling thought that you have access to, that decision can be easily achieved.» — y enmienda la fórmula ajena que el capítulo 13 recogía: en vez de la dicha, el mejor pensamiento al que se tenga acceso desde donde se está

«The key to moving up the vibrational emotional scale is to be consciously aware of, even sensitive to, the way you feel, for if you are not aware of how you feel, you cannot understand which way you are moving on the scale. (You could be turned around and on your way back to Phoenix and not know it.» — la voz nombra ya la escala que desplegará el capítulo 22 y pone la conciencia del propio sentir por única manera de saber en qué dirección se va

«So, a good way to feel your way up this vibrational emotional scale is to always be reaching for the feeling of relief that comes when you release a more resistant thought and replace it with a more allowing thought. The Stream of Well-Being is always flowing through you, and the more you allow it, the better you feel. The more you resist it, the worse you feel.» — lo que el libro prescribe en este capítulo, dicho por la voz: buscar el alivio que trae cambiar un pensamiento de resistencia por otro que permita

«Sometimes one of your friends, who is currently in a much better-feeling place than you are, may encourage you to stop thinking so negatively and choose more positive thoughts. But just because your friend is there in that better-feeling place does not mean that your friend can bring you there—for the Law of Attraction will not allow you to find a vibrational frequency that is far from the frequency that you usually sustain. And even though you do want to feel better, you may not feel that you can find the joyful thought that your friend wants you to find.» — la voz objeta el consejo de pensar en positivo dado desde un estado mejor, y lo objeta por la ley misma y no por la buena fe de quien lo da

«But we want you to understand that you can eventually find that thought, and that once you have deliberately and gradually changed your vibrational frequency, you will be able to sustain that more positive position once you do achieve it.» — y ofrece en cambio el cambio gradual, con la permanencia del nuevo estado por ventaja frente al salto

«When you expect something, it is on the way. When you believe something, it is on the way. When you fear something, it is on the way. Your attitude or mood is always pointing toward what is coming, but you are never stuck with your current point of attraction. Just because you have picked up these thoughts, beliefs, attitudes, and moods along your physical trail does not mean that you have to continue attracting in response to them. You have creative control of your own experience. And, by paying attention to your own Emotional Guidance System, you can change your point of attraction.» — la voz abre el capítulo 19 poniendo expectativa, creencia y miedo en el mismo plano de anticipo, y niega que se quede uno atado a su punto de atracción

«If there are things in your experience that you no longer wish to experience, your belief must change.» — las dos caras de la misma exigencia, quitar y traer, con la creencia puesta por lo único que tiene que cambiar

«There is no condition so severe that you cannot reverse it by choosing different thoughts. However, choosing different thoughts requires focus and practice. If you continue to focus as you have been, to think as you have been, and to believe as you have been, then nothing in your experience will change.» — la voz niega condición irreversible y en la misma frase pone el precio, enfoque y práctica; la reserva va dentro de la afirmación

«Sometimes our physical friends will say, “I’m stuck! I’ve been in this place for a very long time, and I can’t get out of it. I’m stuck!” And we always explain that it is not possible to stand still or be stuck, because Energy, and therefore life, is always in motion.» — la voz recoge la queja de estar atorado y la niega por principio, porque la energía no se detendría nunca

«But the reason it may feel to you as if you are stuck is because, while you are continuing to think the same thoughts, things are changing—but they are changing to the same thing over and over.» — y explica la sensación por repetición y no por quietud: las cosas cambiarían siempre a lo mismo

«If you want things to change to different things, you must think different thoughts. And that simply requires finding unfamiliar ways of approaching familiar subjects.» — lo que el libro prescribe aquí, dicho por la voz: buscar maneras no habituales de acercarse a los asuntos de siempre

«But what if Abraham-Hicks Publications had decided that they, from their vast experience in offering seminars, were in a better position to make plans for you. So, based on what they have heard from the thousands who have attended their seminars, they have decided that they will make your arrangements.» — la voz da vuelta el ejemplo y pone a la propia casa editora a decidir por el lector, que es la figura con que objeta toda intermediación

«And, in like manner, as they make their decisions about what is the best airline for you to take, the car-rental agency you rent from, the hotel bed you sleep in, and the food you eat, their choices would fall far short of pleasing you. You are much better equipped to make those decisions for yourself.» — y saca la moraleja del ejemplo invertido, con la conclusión de que las elecciones ajenas quedarían cortas por bienintencionadas que fueran

«When you remember that everyone who asks is given, then how wonderful and appropriate it is for you to make the choices for you—for the Universe operates much more efficiently without a middleman interceding on your behalf. No one else knows what is appropriate for you —but you do. You always know in the moment what is best for you.» — el cierre del capítulo, donde la voz llama intermediario a quien decide por otro y declara más eficiente al universo sin él

«Others are often eager to guide you. There are endless people— with endless opinions, rules, requirements, and suggestions for how you should live your life, but none of them are able to take into consideration the only thing that matters in achieving your desires: Others cannot understand the vibrational content of your desires, and they cannot understand the vibrational content of where you are, so they are not in any way equipped to guide you.» — la voz niega a cualquier otro la posibilidad de guiar, porque nadie podría conocer el contenido vibratorio ni del deseo ajeno ni del punto en que ese otro está

«Even when they have the very best of intentions and want your absolute Well-Being, they do not know. And even though many of them attempt to be unselfish, it is never possible for them to separate their desire for you from their own desire for themselves.» — y lo funda en algo que no depende de la buena fe: nadie podría separar su deseo para otro de su deseo para sí

«Imagine that you will attend an Abraham-Hicks Art of Allowing Workshop. You know when and where it will be held, and you have made time in your schedule to attend. So, with relative ease, you make all the decisions that are right for you.» — el ejemplo con que el capítulo ilustra la elección propia, tomado de los talleres del matrimonio

«You look down the list of approximately 50 seminars that will be offered during the next year, and you pick a time and location that is most appealing to you. You notice that a seminar will be held in the city where you live, but the date conflicts with something else you had planned to do, so you look for an alternative. You then find a date that matches the time you do have open, you look for a seminar within that time frame, and you find one in a city that you have always wanted to visit. So you call Abraham-Hicks Publications and purchase your seat for the seminar.» — y el detalle de la elección, con la cifra anual de sesiones y el nombre de la casa editora que el volumen imprime

«Yes, when you ask, it is always given, but you must be in vibrational harmony with what you are asking for before you can let it in to your experience. The reason why so many people do not remember or believe that all that they are asking for is being answered is because they are not consciously aware of what they are doing, vibrationally. They are not making the conscious connection between their thoughts, the subsequent feelings those thoughts evoke, and the manifestations that are occurring. And without that conscious connection, you cannot know where you are in relationship to that which you desire.» — la voz abre el capítulo 20 repitiendo la fórmula del título con su condición, y adjudica el olvido a no hacer la conexión entre pensamiento, sentir y manifestación

«When you know that you want something, and you notice you do not have it, you assume that there is something outside of yourself that is keeping it from you, but that is never true. The only thing that ever prevents your receiving something that you desire is that your habit of thought is different from your desire.» — y niega que haya nunca algo exterior que lo impida, con el hábito de pensamiento por única causa

«But if you are predominantly focused upon the results of your focused thoughts rather than feeling your way within your thoughts, it is easy to lose your way.» — la voz advierte contra mirar los resultados en vez de sentir dentro del pensamiento, que es la inversión de la que el volumen se ocupa

«you were taught to face reality before you knew you were creating reality . . . do not face reality unless it is a reality you want to create— for any “reality” only exists because someone has focused it into being.» — la voz contesta a la objeción de mirar los hechos y pide no encarar una realidad que no se quiera crear; la frase arranca en la plana anterior, donde está la objeción citada

«Someone will say, “But this is a true thing, and therefore it deserves my attention.” And we say that you make whatever you give your attention to . . . your Truth. And so, it is extremely beneficial for you to focus primarily on the way you feel while giving only scant attention to the manifestations as they are unfolding, for whenever you are giving your primary attention to things as they are, you are hindering the expansion of what-is.» — y repite el argumento del capítulo 12 sobre la palabra verdad, con la instrucción de dar atención escasa a lo que se manifiesta

«All those statistics that are gathered about your own experiences and about others—are only about how somebody has already flowed Energy. They are not about any hard-and-fast now reality.» — la voz retira a la estadística el valor de realidad presente y la reduce a registro de energía ya fluida

«Within your current society, there are many who gather the statistics of human experience. They spend lifetimes comparing experiences, and categorizing them as appropriate or inappropriate, right or wrong. They weigh the pros and the cons and the pluses and the minuses of topic after topic, but they seldom realize that their vibrational offerings are not serving them. They have no sense of their own power because they are flowing their Energy in opposing directions. Their lives have become more about labeling the behavior or experiences of those with whom they share their planet than about their own creating.» — y describe el oficio de comparar y clasificar experiencias ajenas como energía puesta en direcciones opuestas

«They point to people, behaviors, or beliefs and call them inappropriate, saying no to them, without realizing that they are including into their experience the vibration of the very thing they do not want. And so, without the knowledge of how it is that those unwanted things are making their way into their experience, they become increasingly guarded and fearful.» — la voz explica el miedo creciente de quien señala lo que rechaza, por la inclusión vibratoria que el capítulo 17 enunció

«Freedom from the fear of unwanted experiences will never be achieved by trying to control the behavior or desires of others. Your freedom can only be allowed by adjusting your own vibrational point of attraction.» — la tesis que da título al capítulo, con la libertad puesta del lado del ajuste propio y no del control ajeno

«However, once you learn about the Law of Attraction, and once you are aware of the way your thoughts feel, you will never again feel fear about unwanted things jumping into your experience. You will understand that nothing can jump into your experience without your invitation. Since there is no assertion in this attraction-based Universe, if you do not achieve vibrational harmony with it, it cannot come to you; and unless you do achieve vibrational harmony with it, it cannot come to you.» — la voz niega la aserción en este universo y cierra la frase con sus dos mitades simétricas, sin armonía no llega y sin armonía tampoco

«Even the smallest among you, your babies, are offering vibrations that the Universe is matching. And, like you, your little ones are influenced by the vibrations of those who surround them, but nevertheless, they are creating their own reality. Like you, they did not begin the creation of their life in this body once they were in it, but long before their physical birth they set into motion this life experience that they are now living.» — la voz extiende el mecanismo a los recién nacidos y remonta su vida a antes del nacimiento físico, que es la consecuencia más difícil de su premisa y el capítulo la encara

«The greatest argument we hear from our physical friends who want to understand their relationship with the Non-Physical and how it is that they are here, living and creating, is: “But how is it possible that this little baby who has really learned very little about our physical world could be held responsible for the creation of its own life?” We want you to understand that this little one is very well prepared for its life in your environment because, like you, it was born with an Emotional Guidance System to help it find its way.» — la voz recoge la objeción de la responsabilidad del bebé y la contesta por el sistema de guía con que dice que nace equipado

«If you were driving your vehicle at 100 miles per hour and you hit a tree, you would experience a very big crash. However, if you were to hit the same tree while your vehicle was traveling at just five miles per hour, the outcome would be considerably different. See the speed of your vehicle like the power of your desire. In other words, the more you want something, or the longer you have been focusing upon your desire, the faster the Energy moves. The tree, in our analogy, represents the resistance, or the contradictory thoughts, that may be» — el símil del coche y el árbol, donde la velocidad es la fuerza del deseo y el árbol la resistencia; la frase se corta en el cambio de plana

«It is not pleasant to run into trees, and it is also not pleasant to hold powerful desires in the midst of great resistance. Some try to remedy the imbalance by slowing down their vehicle. In other words, they deny their desire, or they try to release it, and sometimes, with great effort, they are able to diffuse the power of their desire to some degree, but by far, the better remedy would be to reduce your level of resistance.» — y saca del símil la alternativa que el volumen rechaza y la que prescribe: no bajar la velocidad del deseo sino quitar la resistencia

«And so, if you are trying to avoid your own desire, you are attempting to move contrary to Universal Forces. And even if you are able to suppress a desire here and there, more desires are continually evolving within you, for you have come forth into this body and into this wonderful contrasting environment with the clear intent of focusing the Energy that creates worlds through the powerfully focused lens of your perspective. And so, nothing in all of the Universe is more natural than your continuing desire.» — la voz declara contraria a las fuerzas universales la renuncia al deseo, que es la objeción que el capítulo 22 repetirá a quien desee no desear

«There is no desire that anyone holds for any other reason than that they believe they will feel better in the achievement of it. Whether it is a material object, a physical state of being, a relationship, a condition, or a circumstance—at the heart of every desire is the desire to feel good. And so, the standard of success in life is not the things or the money— the standard of success is absolutely the amount of joy you feel.» — la voz reduce todo deseo al deseo de sentirse bien y pone la alegría, no el dinero ni las cosas, como medida del éxito

«The basis of life is freedom, and the result of life is expansion—but the purpose of your life is joy. And that is why the main event has never been the manifestation. It has always been the way you feel in the moment. In other words, you intended to come into the physical realm of contrast to define what is wanted, to connect with the Energy that creates worlds, and to flow it toward your objects of attention— not because the objects of attention are important, but because the act of flowing Energy is essential to life.» — la fórmula de tres términos con que el volumen se resume a sí mismo, y la consecuencia de que lo que importe sea el fluir y no el objeto

«Appreciation and self-love are the most important aspects you could ever nurture. Appreciation of others and the appreciation of yourself are the closest vibrational matches to Source Energy of anything we have ever witnessed anywhere in this Universe.» — la voz pone el apreciar y el amarse como las vibraciones más próximas a la Fuente, que es la base del primero de los veintidós procesos

«Whenever you are focused upon something you appreciate, since that current choice of thought is so similar to who you really are as Source Energy, there is no contradiction in your Energy. You are, in your moment of appreciation, offering no resistance to who you are, so your resulting emotional indication is one of love, joy, or the feeling of appreciation. You feel very good.» — y explica por qué apreciar sienta bien: no habría contradicción entre esa elección y lo que la voz dice que uno es

«But if you criticize someone or even find fault with yourself, your resulting feeling would not feel good, because the vibration of this thought of criticism is so very different from that of your Source. In other words, because you have chosen a thought that does not match who you really are, you can, in this moment, feel the discord of your choice through your emotions.» — el otro lado, con la crítica ajena y el reproche propio puestos en el mismo plano de desajuste

«Now, occasionally, someone will accuse us of teaching selfishness. And we agree. Indeed, we do teach selfishness, for if you are not selfish enough to deliberately align with the Energy of your Source, you have nothing to give anyway.» — la voz acepta el cargo de enseñar egoísmo y lo funda en que sin alineación propia no habría nada que dar

«Some worry, “If I selfishly achieve what I want, wouldn’t I be unfairly taking it from others?” But that concern is based on the misconception that there is a limit of available abundance. They worry that if they take too much of the pie, others will be left with nothing, while, in reality, the pie expands in proportion to the vibrational requests» — y desarma la objeción por la figura del pastel que crece con lo pedido; la frase se corta en el corte de chunk, que reemite esta misma plana

«There are some who fear that a selfish person may deliberately intend harm to another, but it is not possible for someone who is connected to Source Energy to wish harm upon another—for those vibrations are not compatible.» — la voz declara incompatible el daño con la conexión con la Fuente, que es como acota el egoísmo que acaba de suscribir

«Some say, “I saw a picture of a mass murderer, and he looked gleeful. He showed no remorse at all. He said he enjoyed what he did.” But you have no way of accurately accessing what he is feeling. You experience your own emotions because of the relationship between your desire and your current state of thought about the subject, but you have no way of accurately feeling his emotions. It is our absolute promise to you that no one connected to Source Energy would ever cause harm to another. They lash out in their defensiveness, or in their disconnectedness, but never from their state of connection.» — la objeción del asesino en masa que parecía gozoso, contestada por la imposibilidad de leer la emoción ajena y por la promesa de que nadie conectado dañaría

«You must understand that the ultimate act of selfishness is to connect with Self. And when you do that, you are pure, positive Energy focused in this physical body.» — y redefine el egoísmo último como conexión con uno mismo, que es la vuelta con que el capítulo despacha el cargo

«If everyone on your planet were connected to their own Source Energy, there would be no assaults, for there would be no jealousy, insecurity, or uncomfortable feelings of competition. If everyone understood the power of their own Being, they would not seek to control others. Any feelings of insecurity and hatred are born from your disconnection with who you are. Your (selfish) connection with Well-Being would bring only Well-Being.» — la voz deriva de la conexión la desaparición del asalto, los celos y el afán de controlar a otros, y adjudica el odio a la desconexión

«And, most important, we want you to understand that it is not necessary for everyone else (or anyone else, for that matter) to understand what you are learning here in order for you to live a wonderful experience. Once you remember who you are, and once you deliberately reach for thoughts that hold you in vibrational alignment with who you are, your world will also fall into alignment —and Well-Being will show itself to you in all areas of your life experience.» — y retira toda condición colectiva: nadie más tendría que entender esto para que a uno le vaya bien

«When your strong emotions feel bad—like depression, fear, or anger—that means you are offering resistance to your desire. When your strong emotions feel good—like passion, enthusiasm, expectation, or love—that means you are offering no resistance to your desire, so the Source Energy that you have summoned through your desire is not being challenged vibrationally by you—and you are currently allowing the unfolding of your desire.» — y cruza intensidad con signo para leer la resistencia; la frase arranca en la plana anterior

«So it seems obvious that the perfect creative situation is to really, really want something that you truly believe is possible. And when that combination of desire and belief is present within you, things will quickly and easily unfold in your experience. But when you want something that you do not believe is possible, when you hold a desire for something that you do not expect— although a strong enough desire can override a weaker belief—it does not unfold easily, for you are not allowing it into your current experience.» — la voz nombra la combinación óptima, deseo fuerte y creencia de que es posible, y concede que un deseo bastante fuerte puede vencer a una creencia débil

«Unfortunately, many people think that the uncomfortable feeling of wanting something they do not expect to experience is what the feeling of desire is; they no longer recognize the feeling of pure desire as that fresh, eager, feeling of expectancy that they knew when they were younger.» — la voz distingue el deseo puro del anhelo incomodo y adjudica la confusión entre los dos a haber perdido de vista el primero

«The feeling of pure desire is always delicious, as it represents the vibrations that are stretched out before you into your unseen future, preparing the way for the Law of Attraction to match things up on your behalf.» — y describe el deseo puro como vibración tendida hacia el futuro que prepara el camino a la ley

«The value in recognizing your emotions and then consciously working to offer thoughts in order to deliberately produce better-feeling emotions is truly what Deliberate Creation is. It is also what the Art of Allowing is all about.» — la voz hace coincidir aquí sus dos términos mayores, la Creación Deliberada y el Arte de Permitir, en una sola práctica

«Sometimes a person will say, “I’m not happy over here where I’m standing.» — el diálogo con que el capítulo cierra, donde la razón para querer estar en otro sitio resulta ser la infelicidad en este

«to be “over there” and to try to find the feeling-place of what’s “over there.” For as long as someone is talking about, and feeling what’s “over here,” it is not possible for them to get “over there.”» — y la objeción de la voz a esa razón, con el término que dará nombre al proceso 18; la frase arranca en la plana anterior

«If you have been accustomed to thinking and speaking about where you are currently standing, it is not an easy thing to suddenly shift your vibrations and to now begin thinking and feeling something that is very different. In fact, the Law of Attraction says that you do not have access to thoughts and feelings that are very far from where you have recently been vibrating, but with some effort, you could find other thoughts. With a determination to feel better, you could change the subject and therefore find other thoughts with better-feeling vibrations—but vibrational shifting is usually a gradual process.» — la voz concede la dificultad del cambio y vuelve a poner lo gradual por único camino, con la ley misma por razón

«In fact, a continual attempt, in defiance of the Law of Attraction, of trying to jump vibrational ranges is a major factor in the feelings of discouragement that eventually cause people to conclude that they really do not have control of their own life experiences.» — y adjudica el desaliento que lleva a creerse sin control a los intentos repetidos de saltar rangos vibratorios, que es la crítica del volumen al salto de ánimo

«You never say, “I feel guilty about the abundance of good health that I have been living, so I have decided that I will be sick for the» — la voz lleva la objeción del reparto al absurdo con el ejemplo de la salud, que nadie cede por culpa; el pasaje arranca detrás del corte de chunk que reemite la plana y se corta en el cambio a la siguiente

«next couple years in order to allow someone who has been sick the opportunity to use my portion of wellness for himself.” For you understand that by your being well, you are in no way depriving another of the experience of wellness.» — y remata el absurdo: estar bien uno no privaría a nadie de estarlo; la frase arranca en la plana anterior

«Remember, each emotion indicates how much Energy you are summoning because of your desire, and how much of that summoned Energy you are allowing because of the predominant thoughts and beliefs that you currently hold relative to that desire. If you are feeling strong emotion, whether positive or negative, that means that your» — la voz vuelve a las dos lecturas de la emoción, cuánta energía se convoca por el deseo y cuánta se permite por la creencia; la frase se corta en el cambio de plana

«With only a few seconds of focusing your attention on a subject, you activate the vibration of that subject within you, and immediately the Law of Attraction begins to respond to that activation. The longer you keep your attention focused on something, the easier it becomes for you to continue to focus upon it because you are attracting, through the Law of Attraction, other thoughts or vibrations that are the essence of the thought you began with.» — la voz abre el capítulo 21 midiendo en segundos la activación de una vibración, que es lo que da título al capítulo

«Within 17 seconds of focusing on something, a matching vibration becomes activated. And now, as that focus becomes stronger and the vibration becomes clearer, the Law of Attraction will bring to you more thoughts that match. At this point, the vibration will not have much attraction power, but if you maintain your focus longer, the power of the vibration will become further-reaching. And if you manage to stay purely focused upon any thought for as little as 68 seconds, the vibration is powerful enough that its manifestation begins.» — las dos cifras del título explicadas, diecisiete segundos para activar y sesenta y ocho para que empiece la manifestación

«When you repeatedly return to a pure thought, maintaining it for at least 68 seconds, in a short period of time (hours in some cases or a few days in others), that thought becomes a dominant thought. And once you achieve a dominant thought, you will experience matching manifestations until you change it.» — lo que el libro prescribe en este capítulo, dicho por la voz: volver al mismo pensamiento puro por tramos de sesenta y ocho segundos hasta hacerlo dominante, con horas o días por plazo

«The thoughts you think equal your point of attraction. • You get what you think about, whether you want it or not. • Your thoughts equal vibration, and that vibration is then» — los tres primeros renglones del recordatorio con que la voz resume el mecanismo; la serie se corta en el cambio de plana

«answered by the Law of Attraction. • As your vibration expands and becomes more powerful, it eventually becomes powerful enough for manifestation to occur. • In other words, what you think (and therefore feel), and what manifests in your experience, is always a vibrational match.» — y los dos últimos, con la expansión de la vibración hasta el punto de manifestarse; la serie arranca en la plana anterior

«Once the Law of Attraction is understood and accepted (which usually does not take long since there is not a shred of evidence anywhere in your environment to refute it), many people become initially uncomfortable with their own thoughts. Once they understand the power of the Law of Attraction, and they begin to examine the content of their own mind, they sometimes worry about the potential of what they may now be attracting through their uncontrolled thoughts.» — la voz consigna el miedo que dice que provoca su propia doctrina al mirarse uno el pensamiento, y de paso declara que nada en el entorno la contradice

«But there is no reason to worry about your thoughts, for they are not like a loaded gun that may wreak powerful and instantaneous destruction. For although the Law of Attraction is powerful, the basis of your experience is that of Well-Being. And even though your thoughts are magnetic and expand with your attention, you have plenty of time—as soon as you become aware of any negative feelings—to begin to choose other less resistant thoughts and thereby choose a more desired outcome.» — y desarma ese miedo con el símil del arma cargada, apoyado en la demora entre el pensamiento y la manifestación que el capítulo 14 llamó amortiguador de tiempo

«Remember, you can allow it or resist it in varying degrees, but the Stream of Well-Being always flows. So, even a small effort made toward choosing a better-feeling thought will net you obvious results. And once you have taken that step and you do find that better-feeling thought, you have given yourself the conscious freedom to go from wherever you are, on any topic, to anywhere you want to be. Once you deliberately choose a thought and consciously feel the improvement in the way you feel, you have successfully utilized your own guidance system, and you can now be on your way to the freedom that you desire and deserve— for there is nothing that you cannot be, do, or have.» — el cierre de la primera parte del volumen, que cifra todo el método en un solo paso sentido, elegir un pensamiento y notar la mejora

«You might say that different emotions have different vibrational frequencies, but a more accurate way of saying it would be: Your emotions are indicators of your vibrational frequency. When you remember that your emotions indicate your degree of alignment with Source Energy and that the better you feel, the more you are allowing your alignment with the things you desire, then it is easier to understand how to respond to your emotions.» — la voz enmienda en el arranque del capítulo 22 la fórmula que ella misma propone, y deja la emoción como indicador de la frecuencia y no como frecuencia

«At any time that you are thinking thoughts that cause you to know your true nature, you are in alignment with who you really are, for this is the state of absolute alignment. And the way those thoughts feel is the ultimate emotion of connection. When you think in terms of a fuel gauge on a vehicle, this state of alignment would be the same as a full tank.» — y vuelve al símil del indicador de gasolina del capítulo 13 para situar ese estado en el extremo lleno de la escala

«Since the same words are often used to mean different things, and different words are often used to mean the same things, these word labels for your emotions are not absolutely accurate for every person who feels the emotion. In fact, giving word labels to the emotions could cause confusion and distract you from the real purpose of your Emotional Guidance Scale.» — la voz acota la escala que acaba de dar: los nombres no valdrían igual para todos y podrían distraer del propósito, que es de las reservas más fuertes que el volumen se pone a sí mismo

«The thing that matters most is that you consciously reach for a feeling that is improved. The word for the feeling is not important.» — y deja el criterio en el alivio sentido y no en la etiqueta, con lo que la escala queda como ayuda y no como taxonomía

«So, something has happened in your experience that makes you feel terrible. Nothing sounds good, nothing feels good, it seems as if you are suffocating, and each thought is equally painful. The best word to describe your nearly constant state of emotion is one of depression.» — el caso con que la voz ilustra el ascenso por la escala, planteado desde el grado veintidós y no desde uno intermedio

«If you could throw yourself into taking some action, you might feel better; if you could put what is bothering you out of your mind» — la voz enumera salidas que servirían y advierte que desde ahí no se tiene acceso a ellas; la frase se corta en el cambio de plana

«However, vibrationally, you do not have access to most of them right now. But if your intention is to find a thought, any thought, that feels better, and you are consciously aware of how that thought feels, you can begin to move up the Emotional Guidance Scale immediately. It is really a process of thinking a thought, any thought, and then consciously evaluating whether the new thought gives you any feeling of relief from where you were before that thought. So, you think and feel and think and feel, with one intention only: to feel even the slightest bit of relief.» — y da el procedimiento con una sola intención, pensar y sentir hasta notar el más leve alivio, que es lo que el libro prescribe aquí

«Let us say that someone has said something that made you angry, or someone did not keep her word. And as you focus upon this angry topic, you notice that you do feel some relief from your depression. In other words, in the midst of this angry thought, you are no longer having any trouble breathing. The feeling of claustrophobia has lifted, and you do feel slightly better.» — la voz pone el enojo como primer escalón de alivio sobre la depresión y describe el cambio por señales corporales

«Now, here is the crucial step in effectively utilizing your Emotional Guidance System: Stop, and consciously acknowledge that your chosen thought of anger does feel better than the suffocating depression that it replaced. And in the conscious recognition of your improved vibration, your feeling of powerlessness softens and you are now on you way up your Emotional Guidance Scale, back into full connection with who you really are.» — el paso que la voz declara decisivo: reconocer a sabiendas que el pensamiento elegido alivia, con lo que el ascenso queda hecho acto consciente y no cambio de humor

«Often, from a very resistant vibration such as depression or fear, you will have already, instinctively, even unconsciously, discovered the pain-relieving thought of anger. But there are so many who have convinced you that your anger is inappropriate—but of course, they are not inside of you, so they cannot feel the improvement that the angry thought really is—that they often counsel you against your anger . . . only to leave you back in your former state of depression.» — la voz objeta a quienes desaconsejan el enojo y lo funda en que nadie más puede sentir la mejora que ese enojo representa para quien lo siente

«But when you consciously know that you have chosen an angry thought and that it has brought you relief, then you can consciously know that you can move from the angry thought to a less resistant one such as frustration, and then up the Emotional Guidance Scale you go—right back into your full alignment.» — y describe el ascenso por grados contiguos, del enojo a la frustración y de ahí hacia arriba, que es el principio del proceso 22

«You are free. • You are powerful. • You are good. • You are love. • You have value. • You have purpose. • All is well.» — los siete renglones que la voz da por contenido del alineamiento absoluto, del ser libre al estar todo bien; el último es el primer asiento del glosario del volumen y el propio libro repite varios de ellos en otras planas

«A scale of your emotions would look something like this: 1. Joy/Knowledge/Empowerment/Freedom/Love/Appreciation 2. Passion 3. Enthusiasm/Eagerness/Happiness 4. Positive Expectation/Belief 5. Optimism 6. Hopefulness 7. Contentment 8. Boredom 9. Pessimism 10. Frustration/Irritation/Impatience 11. “Overwhelment” 12. Disappointment 13. Doubt 14. Worry 15. Blame 16. Discouragement 17. Anger 18. Revenge 19. Hatred/Rage 20. Jealousy 21. Insecurity/Guilt/Unworthiness 22. Fear/Grief/Depression/Despair/Powerlessness» — la escala emocional entera, los veintidós grados con sus nombres tal como el volumen los imprime, de la alegría al miedo; es la pieza a la que remiten el capítulo 18 y el proceso 22, que la reimprime

«When you are consciously aware of where you are, and you also know where you would like to be, and you have a means of understanding whether or not you are pointed in the direction of where you want to be . . . then nothing can keep you there. The seeming lack of control of your life experience is mostly because you do not realize in which direction you are headed. Without a conscious realization of your own emotions and what they mean, you often move away from where you really want to be.» — la voz adjudica la sensación de no mandar sobre la vida propia a no saber en qué dirección se va, y no a los hechos

«There are many words that are used to describe emotions, but there are really only two emotions: One feels good, and one feels bad. And every incremental place along the emotional scale only indicates degrees of the allowance of the powerful, pure, positive Source Energy. The fullest state of connection, which feels like joy, love, appreciation, freedom, or knowledge, is really speaking to your own feeling of self-empowerment. And the fullest state of disconnection, which feels like despair, grief, fear, or depression, is really speaking to your own feeling of disempowerment.» — la voz reduce la escala de veintidós grados a dos emociones y hace de los grados intermedios medidas de cuánta Energía de la Fuente se permite

«There is tremendous value when you are able to deliberately cause even the slightest improvement in the way you feel, for even in that small emotional improvement, you may have regained a measure of control. And even though you may not have fully exercised your control to bring yourself entirely back into full connection with your full power, you no longer feel powerless. And so, your trek back up the emotional scale is now not only possible, but it is relatively easy.» — y pone el valor en la mejora mínima, porque con ella se recuperaría algo de poder aunque no se recupere todo

«If a severely depressed person could consciously discover the relief of an angry thought, and, more important, could consciously recognize that he has deliberately chosen the angry thought, he would immediately regain a sense of his own power, and his depression would lift. Now, of course, it is important that he does not remain in his place of anger. But, from that angry place, he now has access to the relieving thoughts of frustration.» — el caso del enojo como alivio de la depresión, con la reserva dicha en la misma frase: que importa no quedarse ahí

«There are many who do not yet understand the vibrational content of emotions (or even what an emotion is or its reason for being) who counsel with great forcefulness against the projection of anger. For most people do not enjoy being in the presence of someone who is angry, and most would selfishly prefer that the angry person return to their former state of powerless depression, because their depression is usually turned inward, while their anger is often thrust outward toward whoever is nearby.» — la voz explica el consejo ajeno contra el enojo por la incomodidad de quien lo presencia y no por el bien de quien lo siente, y contrasta la ira hacia fuera con la depresión hacia dentro

«an improvement for you; only you know—by the relief that you feel— the appropriateness of any thought. Until you decide that you are going to guide yourself by the way you feel, you can make no steady progress toward your own desires.» — la voz deja el juicio sobre la propia emoción en quien la siente y lo mide por el alivio; la frase arranca en la plana anterior

«Those who are watching you might feel better if they understood that you have no intention of remaining in your state of anger. If they knew that your greater plan is to move through your anger, and then through frustration through overwhelment to optimism to belief and onward to your knowing that all is well, they might be more patient with where you are right now.» — y traza la ruta entera del ascenso, del enojo a la frustración, al agobio, al optimismo y a la creencia, como argumento para pedir paciencia a los de fuera

«There are many people who just naturally move from the powerless feeling of depression or fear into anger as a sort of self-surviving mechanism, but when they are met with so much disapproval from family members, friends, and counselors with respect to the inappropriateness of their anger, they return to the feeling of powerlessness, only to repeat the cycle again and again: from depression to anger, to depression to anger, to depression to anger. . . .» — la voz describe el ciclo en que se cae cuando el enojo se reprime por desaprobación de la familia y los consejeros, y vuelve a la impotencia

«The key to regaining your wonderful feeling of personal empowerment and control is to decide, right now, no matter how good or how bad you are feeling, that you are going to do your best to make the best of it. Reach for the best-feeling thought that you have access to right now, and as you do that again and again, in a short period of time you will find yourself in a very good-feeling place. That is just the way it works!» — lo que el libro prescribe en este capítulo, dicho por la voz: decidir ahora mismo hacer lo mejor con lo que hay y buscar el mejor pensamiento al alcance, una y otra vez

«Right now I am going to find the best-feeling thought that I can. I am going to reach for more relief, more relief, more relief.» — la fórmula en primera persona que el volumen pone en boca del lector para ese ejercicio

«Rage gives you a feeling of relief from depression, grief, despair, fear, guilt, or powerlessness. • Revenge gives you a feeling of relief from rage. • Anger gives you a feeling of relief from revenge. • Blame gives you a feeling of relief from anger. • Overwhelment gives you a feeling of relief from blame.» — la primera mitad de la escala recorrida hacia arriba grado por grado, con la rabia por primer alivio de la impotencia

«Irritation gives you a feeling of relief from overwhelment. • Pessimism gives you a feeling of relief from irritation. • Hopefulness gives you a feeling of relief from pessimism. • Optimism gives you a feeling of relief from hopefulness. • Positive Expectation gives you a feeling of relief from optimism. • Joy gives you a feeling of relief from positive expectation.» — y la segunda mitad, hasta la alegría; la serie arranca en la plana anterior y cada renglon mide un solo escalón

«In time, and with practice, you will become very adept at understanding what your Emotional Guidance System is telling you. Once you make a determined decision to continually reach for the relief that an improved emotion brings, you will find yourself feeling good most of the time, and allowing into your experience all the things you desire.» — la voz hace de la decisión de buscar siempre el alivio siguiente la práctica entera del sistema

«Attention to how you are feeling is necessary in order to understand everything that is happening to you. How you feel—and the feeling of relief that you discover as you reach for better-feeling thoughts—is your only true measurement of what you are attracting into your experience.» — y declara el sentir la única medida verdadera de lo que se atrae, con lo que descarta cualquier otra prueba

«given—then each of your desires will now be pure non-resisted desire. Many people desire things that they are not currently living fully, and in some cases they have desired them for a long period of time. And so, they think about the thing they desire, and then they think about not having it.» — la voz ofrece la fórmula del título como remedio de esa mezcla; el pasaje arranca detrás del corte de chunk que reemite la plana

«they want than it is about what they want. Without even realizing what they are doing, they are holding themselves vibrationally apart from their own desires, so in time they come to believe that this sluggish, unfulfilled feeling of not getting what they want is really what desire feels like.» — y describe cómo se llega a confundir con el deseo la sensación sorda de no obtener lo que se quiere; la frase arranca en la plana anterior

«There have been some who have said to us, “Abraham, I’ve been taught that it’s not appropriate for me to have any desires. I’ve been taught that the state of desire will keep me from being the spiritual Being that I’m supposed to be, and that my state of happiness depends upon my ability to release all desires.” We reply, But is not your state of happiness, or your state of spirituality, a desire?» — la objeción de quien dice haber aprendido que no conviene tener deseos, contestada por la voz con que la felicidad y la espiritualidad serían también deseos

«We are not here to guide you toward, or away from, any desire. It is our work to help you understand that you are the creator of your own experience and that your desires will naturally be born from your experience in this environment, in this body. It is our desire to assist you in coming into perfect alignment with Source so that you can then achieve the creation of your desires.» — la voz acota su propio papel frente a esa objeción: ni dirigir ni desviar el deseo, solo ayudar a alinearse con la Fuente

«We understand why some would suggest that if you would release your desire, you would feel better, because the negative emotion that you are feeling is due to the vibrational difference between your current vibration and the vibration of your desire. But releasing desire is the hard way to go about bringing yourself into alignment, because the entire Universe is poised to help you give birth to yet another new desire. So, a much easier way to come into alignment with your Source, and therefore to feel better, is to work on releasing your resistance.» — y concede la razón de quien propone soltar el deseo, para oponerle que soltar la resistencia es el camino fácil y soltar el deseo el difícil

«Your ability to imagine will help the next logical steps come to you faster. You can work the bugs out of it in your imagination; you do not have to build little things and bigger things—you can do it all in your mind. We are not talking about the next logical action step. We are talking about using your imagination until your big dream feels so familiar that the manifestation is the next logical step.» — la voz pone la imaginación en lugar del paso de acción y hace del sueño grande algo que se vuelve familiar por imaginarlo

«For example, a mother and her adult daughter were contemplating purchasing a lovely house in a beautiful area and creating a wonderful bed-and-breakfast facility. The daughter said to her mother, “If only we could find a way to make this happen, it would make me happy for the rest of my life. If this could happen, it would make up for all of those things that I wanted that didn’t come to pass.» — el caso de la madre y la hija con la casa de huéspedes, donde lo que el volumen señala es la fórmula de la hija, que carga el deseo con todo lo que no vino antes

«manifest. When your desire feels so big that it feels unreachable, it is not on the verge of manifestation.» — la voz da el criterio con que dice medirse la cercanía de lo deseado, que el deseo se sienta como el paso siguiente y no como algo inalcanzable; la frase arranca en la plana anterior

«You can tell by the way you feel whether your vibration is in the place where you are allowing Universal Forces to deliver your desire to you now . . . or not. With practice, you will know whether you are on the brink of a manifestation or whether it is still in the becoming stages, but most important, once you are in control of the way you feel, you will enjoy it all» — la voz promete que con práctica se sabrá si algo está por manifestarse, y pone por encima de eso el control del propio sentir

«You will enjoy your exposure to the variety and contrast that helps you identify your desire, and you will enjoy the sensation of your own desire, which is being launched from your own valuable perspective and is flowing from you. • You will enjoy the sensation of your conscious awareness when you are not a vibrational match to your own desire, and you will enjoy the sensation of deliberately bringing yourself back into vibrational alignment with your desire.» — los dos primeros renglones del disfrute que la voz enumera, donde entra incluso la conciencia de no coincidir con el propio deseo

«You will revel in the conscious awareness that you have deliberately molded your desires into being in as real a way as if you had created a statue with the clay in your own hands.» — y el símil de la estatua de barro con que cierra la enumeración, que retoma el del escultor del capítulo 9

«The entire Universe exists to produce new life-giving desire within you, and when you go with the flow of your own desires, you will feel truly alive—and you will truly live.» — el cierre de la primera parte del volumen, con el universo puesto al servicio de producir deseo nuevo y el ir con la corriente del propio deseo por señal de estar vivo

«We would describe the sensation of desire as the delicious awareness of new possibilities. Desire is a fresh, free feeling of anticipating wonderful expansion. The feeling of desire is truly the feeling of life flowing through you.» — la voz define el deseo puro como conciencia de posibilidades nuevas y lo iguala al sentir de la vida que pasa por uno

«But many people, while they are using the word desire, feel something quite different. Desire, for them, often feels like yearning, for while they are focused upon something that they want to experience or have, they are equally aware of its absence. And so, while they are using words of desire, they are offering a vibration of lack. They come to think that the feeling of desire is like wanting something that they do not have. But there is no feeling of lack in pure desire.» — y lo distingue del anhelo, donde la conciencia simultánea de la ausencia convierte las palabras de deseo en vibración de carencia

«So now that you have made it this far into the book, you have been reminded of many things that you have always known: You now remember that you are an extension of Source Energy and that you have come into your physical body, into this Leading-Edge time-space-reality, for the purpose of joyously taking thought beyond that which it has been before.» — la voz abre la segunda parte del volumen recapitulando lo que dice que el lector ya recuerda, con la fórmula que repetirá siete veces seguidas

«You now remember that you are free (in fact, you are so free that you could choose bondage), and that everything that comes to you is in response to the thoughts you are thinking.» — la voz declara la libertad tan amplia que incluye elegir la servidumbre, que es la acotación con que el volumen hace compatibles libertad y ley

«You now remember that the Law of Attraction is always fair, and there is no injustice—for whatever is coming to you is doing so in response to the vibrations that you are offering due to the thoughts you are thinking.» — y declara justa a la ley y ausente la injusticia, que es la afirmación con más consecuencias del volumen y aquí va sin atenuante

«And you now remember that there is no dark switch; there is no Source of “evil” or Source of sickness or lack. You may allow or you may resist Well-Being—but everything that happens to you is all your doing.» — la voz repite el símil del interruptor de oscuridad del capítulo 7 y remata adjudicando al lector todo lo que le ocurre

«If your current life is pleasing to you in every way, then you may have no reason to read further. However, if there is something about your life that you wish to improve—perhaps something missing that you would like to include or something unwanted that you would like to release—the following processes will be of immense value to you.» — la voz condiciona la lectura de la segunda parte a que haya algo que mejorar, con lo que la presenta como remedio y no como doctrina

«Your habit of resistant thought is the only thing that ever keeps you from allowing the things you desire. And although you certainly did not intentionally develop these resistant patterns of thought, you did pick them up along your physical trail, bit by bit and experience by experience. But one thing is very clear: If you do not do something that causes a different vibrational offering, then nothing in your experience can change.» — y reduce el obstáculo entero al hábito de pensamiento resistente, adquirido sin querer por el camino

«You might earmark those that you feel enthusiasm toward. Then, when you have the time to perform the processes, begin with the one for which you felt the most enthusiasm. This is the best place for you to start.» — y da el orden de entrada, empezar por aquel que despierte más entusiasmo y no por el primero de la serie

«Actually, you could choose any process at random, perform it, and receive noticeable benefits from it, for every process in this book will assist you in releasing resistance and raising your vibration. However, the power of your desire and the degree of your current resistance does make certain processes of greater value to you right now than others.» — la voz declara útil cualquiera de los procesos y a la vez acota que la fuerza del deseo y el grado de resistencia hacen que unos sirvan más que otros

«However, because your own life offers a broad spectrum of experiences as well as a broad spectrum of emotions, there are no hard-and-fast rules about which specific process is best for you to apply to which specific experience right now.» — y niega que haya regla fija para elegir proceso, con lo que deja el criterio en quien lo aplica

«Some of the processes will assist you in focusing your desire more clearly, causing your point of attraction to be stronger. But if, for whatever reason, you are in the midst of offering a great deal of resistance, then a process that would cause you to summon even more Energy could actually be counterproductive to you.» — la voz advierte que un proceso que aumente el deseo puede resultar contraproducente si hay mucha resistencia, que es la reserva que ordena la serie

«Often, people conclude that the only option that makes sense is to slow the vehicle down—but we are teachers who encourage removing the trees from your path.» — y declara cuál de las dos salidas del símil del capítulo 20 enseña, quitar los árboles y no frenar el vehículo

«your life experience, and these emotions are your key to knowing which processes would be best for you to utilize right now. Generally speaking, the better you feel, the more the lower-numbered processes will be of benefit for you; and the worse you feel, the more the higher-numbered processes will be of benefit.» — la voz explica el orden de los veintidós procesos por el estado de ánimo de quien los toma, los de número bajo para quien se siente mejor; la frase arranca en la plana anterior

«The most important thing for you to acknowledge before you apply any of these processes is how you are feeling right now—and how you would like to feel. At the beginning of each process, we have indicated an emotional range that we suggest for each one. Any of the processes that fall within the emotional range that you believe you are feeling right now is a perfect place to begin.» — lo que el libro prescribe antes de cualquier proceso, reconocer cómo se siente uno ahora y cómo querría sentirse, con el rango emocional impreso al frente de cada uno

«It is our absolute promise to you that your life will improve with the application of these processes, for you cannot apply the process without improving the way you feel. And you cannot improve the way you feel without releasing resistance and thereby improving your point of attraction. And when you improve your point of attraction, the Law of Attraction must bring you circumstances, events, relationships, experiences, sensations, and powerful evidence of your shift in vibration. It is Law!» — la voz encadena la promesa entera: aplicar el proceso mejoraría el sentir, el sentir el punto de atracción y este las circunstancias, y lo declara ley

«It is our desire that you comfortably begin to utilize these processes, for it is our knowing that they will positively change your life experience. From our perspective, they have been designed for the powerful reason of helping you realign with the Energy that is really You. And in that process, you will return to your natural joy. Oh, and yes, there will be the added side benefit of helping you achieve anything you have ever desired.» — la voz pone el fin de los procesos en volver a la alegría propia y deja el logro de lo deseado como beneficio secundario, que es la jerarquía que el volumen sostiene frente a su propio subtítulo

«The processes on the following pages have been designed to help you gradually release any patterns of resistance. And, in the same way that you did not develop your resistant patterns all at once, you will not release them all at once—but you will release them.» — la voz declara graduales los veintidós procesos por la misma razón que fue gradual la resistencia

«Process by process, game by game (we use the word game interchangeably with process), and day by day, you will gradually but steadily return to being a person who allows your own natural Well-Being to flow to you.» — y fija en el paréntesis la equivalencia entre proceso y juego, que el volumen usa de ahí en adelante

«So, it is with tremendous enthusiasm and powerful expectation that we offer the processes that will follow shortly. When you have time, we encourage you to read through each process without actually» — lo que el libro prescribe sobre su propio uso, leer cada proceso sin hacerlo todavía; la frase se corta en el cambio de plana

«When you remember an incident from a past experience, you are focusing Energy. When you are imagining something that may occur in your future, you are focusing Energy, and, of course, when you are observing something in your now, you are focusing Energy. It makes no difference whether you are focusing on the past, present, or future, you are still focusing Energy—and your point of attention or focus is causing you to offer a vibration that is your point of attraction.» — la voz iguala en efecto el recordar, el imaginar y el observar, con lo que el tiempo del objeto deja de importar

«When you spend time pondering, remembering, or imagining something, a vibration is activated within you. If you return to that thought, you again activate the vibration. The more often you revisit the thought, the more familiar the vibration becomes, and the easier it is for you to activate it, until eventually it becomes a dominant vibrational pattern within you.» — y describe cómo la repetición hace familiar una vibración hasta volverla dominante

«And so, there are two surefire ways to understand what your vibrational offering is: Notice what is happening in your experience (for what you are focused upon and what is manifesting are always a vibrational match), and notice how you feel (because your emotions are giving you constant feedback about your vibrational offering and your point of attraction).» — las dos maneras que la voz da por seguras para leer la propia vibración, lo que ocurre y lo que se siente

«But the most satisfying aspect of Deliberate Creation comes from being sensitive to the way the thoughts you are thinking feel, for then it is possible to modify a bad-feeling thought to one that feels better, and to thereby improve your point of attraction before something unwanted manifests. It is far easier—before an unwanted physical manifestation appears—to deliberately change the direction of your thought to something that feels better.» — la voz prefiere la lectura del sentir a la de lo manifestado, porque permitiría cambiar el rumbo antes de que aparezca lo no querido

«Most people offer the majority of their thought vibrations in response to something they are observing. When they observe something wonderful, they feel wonderful; when they observe something awful, they feel awful, but they believe they have no control over how they feel because they realize that they cannot control the circumstances that they have observed.» — la voz describe la conducta que da por común, sentir en respuesta a lo observado y creer por eso que no se manda sobre el sentir

«Many people spend the majority of their lives attempting to control circumstances because they believe that in the controlling of the circumstance, they will feel better. But no matter how much control they gain over the actions of others, it is never enough— because there is always another uncontrollable circumstance.» — y objeta el intento de controlar circunstancias por una razón práctica, que siempre habría otra fuera de control; la frase arranca en la plana anterior

«You have no creative power within the lives of others, for they are offering their own vibrations, which equal their own point of attraction, just as you are offering your own vibrations, which equal your own point of attraction.» — la voz niega poder creador dentro de la vida ajena, con la simetría entre uno y otro por razón

«Many say, “Once that condition changes, I’ll feel better. When I have more money or move into a better house or find a better job or a better mate, then I’ll feel better.” We do not disagree that it does feel better to observe something that is pleasing than something that is not, but that is going about it in a very backwards way.» — la voz recoge la fórmula que da por común, sentirse mejor cuando cambie la condición, y la llama orden invertido sin negar que observar lo grato siente bien

«Deliberate Creation is not about the condition changing and then your finding a better feeling in response to the changed condition. Deliberate Creation is about choosing a thought that feels good when you choose it, which then causes the condition to change.» — y da el orden que sostiene, elegir primero el pensamiento que sienta bien y esperar de ahí el cambio de la condición

«For example, unconditional love is really about wanting so much to remain in connection with your Source of love that you deliberately choose thoughts that allow your connection, no matter what manifestations may be happening nearby. And when you are able to control your point of attraction by deliberately choosing better-feeling thoughts, the conditions that surround you have to change. The Law of Attraction says that they must.» — la voz redefine el amor incondicional como elegir pensamientos que mantengan la conexión sin importar lo que ocurra cerca

«Some say, “All this stuff about Deliberate Creation sounds simple enough, but why am I having so much difficulty doing it? Why do I have such a hard time controlling my thoughts? It feels like my thoughts are in charge! It feels like my thoughts are thinking themselves!» — la objeción que el volumen se pone a sí mismo, que los pensamientos parecen pensarse solos; el libro la cita en primera persona

«Well, remember that the Law of Attraction is a powerful Law, and that it is not possible for you to find and hold a thought if your current vibrational set-point is very different from that thought. You only have access to thoughts whose vibrations are somewhere in your current vibrational range.» — y la contesta por la ley misma: solo se tendría acceso a pensamientos dentro del propio rango, que es el límite sobre el que se arma la escala de procesos

«What you are noticing is your vibrational alignment with the music. In other words, at your time of closer alignment with who you really are, the music blends with your good feeling. But when you are not in alignment with who you really are, the music only points out to you the difference between the vibration of Well-Being, which is who you really are, and your resistant vibration of this moment.» — y saca del ejemplo que lo ajeno señala la distancia con uno mismo en vez de causar el estado; la frase arranca en la plana anterior

«There are those times when friends can prod or tease you into a better-feeling thought, but at other times their prodding or teasing just makes you feel worse. Any success they may have had in helping you feel better has been, for the most part, about how far out of alignment you already were, because while it is easy to make small vibrational jumps, it is difficult, or even impossible, to make large ones.» — la voz explica por qué la broma de un amigo a veces ayuda y a veces empeora, con la regla de los saltos pequeños y los grandes

«Through observing, remembering, pondering, and discussing, you have practiced thoughts that have become more powerful thoughts or beliefs, which now dominate your point of attraction. And each thought you consider or focus upon causes you to feel an emotional response. And so, over time, you have come to feel certain ways about certain things. We call that your Emotional Set-Point.» — y repite la formación del punto de ajuste emocional por práctica, que es lo que los procesos se proponen mover

«The following processes are numbered 1 through 22. The closer you are, right now, to vibrational alignment with your own Source of Well-Being, the more effective the lower-numbered techniques will be in helping you to fully realign. The further you are, right now, from your vibrational alignment with Source, the higher the number of the process will have to be in order to bring you back into alignment.» — la regla de correspondencia entre el número del proceso y la distancia a la que se esté de la alineación

«Now you may be one who is usually so close to alignment with your own Source of Well-Being that you will rarely utilize one of these processes that is past the number of Process #12. But there may be some special circumstances that could cause your vibration to dip further out of your usual range of connection, and if so, then you may benefit from one of the higher-numbered processes— but that would be an exception for you.» — la voz describe al lector que rara vez pasaría del proceso doce, con la excepción de circunstancias que bajen su vibración

«On the other hand, you may be one who cannot remember the last time you felt good about anything. Through the circumstances of your life that you have been observing, you may have developed a set-point that holds you consistently out of range of your connection to Well-Being, so you may discover no relief at all with the first five or six processes. And you may find only slight relief if you even begin with the last processes we have offered here.» — y describe el caso contrario, el de quien no hallaría alivio ni con los primeros procesos ni casi con los últimos

«But the most important thing we want you to realize is that it does not matter how good you feel or how fast you feel it—the only thing that matters is that you consciously discover some relief, no matter how slight it is, and that you understand that your relief has come in response to some deliberate effort that you have offered. For when you are able to find relief, then you have regained creative control of your own experience, and then you are on your way to wherever you desire to go.» — la voz retira del criterio la magnitud y la rapidez del alivio y deja solo dos cosas, que se note y que se sepa consecuencia de un esfuerzo propio

«Remember, the purpose of each process is to raise your vibrational frequency. Another way of saying that is: The purpose of each process is to release your resistance, or The purpose of the process is to find the relief from resistance, or The purpose of this process is an improved feeling, or The purpose of this process is to improve my Emotional Set-Point.» — la voz da cinco formulaciones intercambiables del propósito de los procesos, de subir la frecuencia a mejorar el punto de ajuste

«If, after a few minutes with a process, you do not feel as good or better than when you began, simply discontinue it and choose another with a higher number.» — la regla de abandono que el libro prescribe, dejar el proceso que no alivie en unos minutos y tomar otro de número más alto

«We use the words process, technique, or game interchangeably because, while these are powerful processes that will assist you in achieving anything that you desire, if you will take a playful approach to them, you will hold far less resistance than if you see them as tools to fix something that is broken. The key to the success that you will find in these processes actually hinges upon your ability to release resistance, and the more playful you are, the less resistance you hold.» — la voz pide tomarlos con juego y no como herramienta para arreglar algo roto, porque lo primero tendría menos resistencia

«A deliberate utilization of these processes will help you move your Emotional Set-Point, and therefore change your point of attraction. You will begin to observe immediate improvement—even on your first day of the application of these games. And with more practice, you will improve your point of attraction on every subject of your life.» — y promete mejora notable desde el primer día de aplicación, con la práctica por medida

«You are the creator of your own experience whether you know that you are or not. Your life experience is unfolding in precise response to the vibrations that radiate as a result of your thoughts, whether you know that it is or not.» — la voz repite la tesis del capítulo 3 en el umbral de los procesos y la hace independiente de que se sepa

«from one who may be creating your own reality unwittingly or by default, to someone who is the deliberate creator of your own reality. Your utilization of these processes is going to give you precise control of every aspect of your own life experience. It is with tremendous love and enthusiasm that we offer these lifechanging processes to you. There is great love here . . . for you.» — el cierre del apartado, que define los procesos por el paso de crear por omisión a crear a propósito; el pasaje arranca detrás del corte de chunk que reemite la plana; el troceo parte *life-changing* por el guion de fin de renglón y span lo devuelve unido.

«Your emotions are essential to your conscious control of your own experience. And, of course, they are essential to your maintenance of a happy life experience. In the same way that you would not deaden your fingertips to desensitize them to heat, or put a “Happy Face” sticker on the dashboard of your vehicle to cover your fuel gauge indicator because you do not like seeing that you are out of fuel, you would not want to mask your own feelings, pretending to feel different from how you really feel.» — la voz objeta el disimulo del propio sentir con el símil de la calcomanía sobre el indicador de gasolina, que es lo que da título a este apartado

«For pretending in this way does nothing to change your vibrational point of attraction. The only way you can do so is to change your vibrational offering, and when you do change your vibrational offering, the way you feel changes, too.» — y da la razón de la objeción: fingir no movería el punto de atracción, y el sentir cambia solo cuando cambia lo que se ofrece

«You will come to understand that Deliberate Creation is about deliberately guiding your thoughts in good-feeling directions. You will feel the satisfaction of deliberately choosing a good-feeling thought, and then you will enjoy observing the good-feeling manifestation that must follow.» — la voz define la Creación Deliberada como guiar a propósito el pensamiento hacia lo que sienta bien, con la manifestación por consecuencia

«There is even some satisfaction to be found in recognizing the not-so-good-feeling thought and then observing the not-so-good-manifestation that must follow, for now your conscious awareness of the powerful Law of Attraction will give you the feeling of control. Without making the correlation between your thoughts and feelings and the manifestations that are occurring, you have no conscious control of what happens in your experience.» — la voz halla satisfacción incluso en ver llegar lo desagradable previsto, porque daría sensación de control; sin esa correlación, dice, no hay control consciente de lo que ocurre

«This Rampage of Appreciation Process will be of the most value to you when your Emotional Set-Point is ranging somewhere between: (1) Joy/Knowledge/Empowerment/Freedom/Love/Appreciation» — el rango emocional que el libro fija para este proceso, que es el tramo alto de la escala del capítulo 22

«So, let us say that you are feeling Positive Expectation. Since Positive Expectation is ranked at (4), and (4) falls between the (1) and (5) suggested current Emotional Set-Point Range for the Rampage of Appreciation, this process would be one of the most valuable ones for you to use right now.» — el ejemplo con que el libro enseña a usar los números de la escala para decidir si un proceso le corresponde a uno

«Begin by looking around your immediate environment and gently noticing something that pleases you. Try to hold your attention on this pleasing object as you consider how wonderful, beautiful, or useful it is. And as you focus upon it longer, your positive feelings about it will increase. Now, notice your improved feeling, and be appreciative of the way you feel. Then, once your good feeling is noticeably stronger than when you began, look around your environment and choose another pleasing object for your positive attention.» — lo que el libro prescribe en el proceso 1: mirar algo que agrade, sostener la atención hasta que el sentir mejore, reconocer la mejora y pasar a otro objeto

«Make it your objective to choose objects of attention that easily evoke your appreciation, for this is not a process of finding something troubling and fixing it; this is a process of practicing the higher vibrations.» — la acotación que el libro pone al ejercicio: no se trata de hallar algo que arreglar sino de practicar las vibraciones altas

«Because the vibration of appreciation is the most powerful connection between the physical you and the Non-Physical You, this process will also put you in a position to receive even clearer guidance from your Inner Being.» — la razón con que la voz funda este proceso, que apreciar sería la conexión más fuerte entre la persona física y lo que llama el Tú No Físico

«The more you find something to appreciate, the better it feels; the better it feels, the more you want to do it; the more you do it, the better it feels; the better it feels . . . the more you want to do it. The Law of Attraction assists with the powerful momentum of these positive thoughts and feelings until, with very little time and effort, you will find your heart singing in your joyous alignment with who you really are.» — la cadena circular con que la voz describe el efecto acumulativo del ejercicio, y en la que la ley aporta el impulso

«When you want to parlay a good mood into an even better one • When you want to enhance your relationship with someone or something • When you want to deliberately maintain your current good-feeling set-point • When you want to maintain or even improve your current good feeling • When you want to deliberately focus upon something that is beneficial to your set-point • When you are driving, walking, or standing in line, and you want to do something that is creatively productive» — los primeros casos de uso que el libro imprime al frente del proceso 1, la Parranda de Apreciación; ese encabezado con su lista es el formato con que presenta los veintidós

«When there is something in your line of sight that could potentially take you to a place of negative emotion, and you want to maintain control of your own vibration • When your own thoughts, or the words of someone you are with, start off in a potentially negative direction, and you want to control the direction of the subject matter • When you are aware that you are experiencing negative emotion and you want to change the way you feel» — y los tres últimos, que llevan el proceso del buen ánimo al control de la propia vibración ante lo que molesta

«(If you are not sure what your current Emotional Set-Point is, turn back to Chapter 22 and scan the 22 categories on the Emotional Guidance Scale.» — la remisión interna a la escala del capítulo 22 para que el lector se sitúe antes de elegir proceso; el volumen la reimprime literal en veinte de los veintidós procesos

«For example, while standing in line at the post office, you may think: This is a very nice building. It’s great that they keep it so clean. I like how friendly that postal worker is. I appreciate the way that that mother is interacting with her child. That’s a good-looking jacket. My day is really going well. While driving to work, you may think: I love my car. This new freeway is wonderful. Even though it’s raining, I’m making very good time. I love how reliable my vehicle is. I’m grateful for my job.» — los dos repertorios de frases que el libro pone de ejemplo del ejercicio, en la fila del correo y en el coche, dichos en primera persona

«Once you become oriented toward looking for things to appreciate, you will find that your day will be filled with such things. Your thoughts and feelings of appreciation will flow from you naturally. And often, while in the midst of a genuine feeling of appreciation for someone or something, you will feel ripples of goose bumps— those sensations are confirming your alignment with your Source.» — la voz lee la piel de gallina como señal corporal de alineación, que es de las pocas pruebas físicas que el volumen admite

«Every time you appreciate something, every time you praise something, every time you feel good about something, you are telling the Universe: “More of this, please.” You need never make another verbal statement of this intent, and if you are mostly in a state of appreciation, all good things will flow to you.» — la voz traduce el apreciar a una petición dirigida al universo y declara innecesaria toda formulación verbal

«We are often asked, Isn’t love a better word than appreciation? Isn’t love more descriptive of the Non-Physical Energy? And we say that love and appreciation are really the same vibration. Some use the word gratitude, or a feeling of thankfulness, but all of these words are descriptive of Well-Being.» — la voz iguala amor, apreciación y gratitud como nombres de una misma vibración, contestando a una pregunta que dice recibir a menudo

«A desire to appreciate is a very good first step, and then as you find more things that you would like to say “Thank you” about, it quickly gains momentum. And as you want to feel appreciation, you attract something to appreciate. And as you appreciate it, then you attract something else to appreciate, until, in time, you are experiencing a Rampage of Appreciation.» — y explica el nombre del proceso por acumulación: cada cosa apreciada traería otra hasta volverse parranda

«Well, we would never suggest that you should be able to look right at something you do not want and feel good about it. Instead, look for things that cause you to feel good when you find them, and then the Law of Attraction will bring you more things like those.» — la voz retira la exigencia de apreciar lo que molesta y la sustituye por buscar en otra parte lo que sí sienta bien, que es la enmienda que hace al mandato de amar a todos

«You do not know who ran over their dog today or who divorced them or who took money out of their bank account. You do not know they are living, so you cannot understand why they react to you in the way they do—and you cannot control it.» — y explica la conducta ajena por lo que no se sabe de ella, para quitar del propio cargo la reacción de otro; el troceo omite el how en la última frase y así va la cita

«Once you have made a decision that nothing is more important than that you feel good, and you have decided that you are going to consciously look for some things to appreciate today, the object of your attention has now become the feeling of appreciation. You have now established a circuit between you and that object of appreciation that the Law of Attraction will» — lo que el libro prescribe como decisión previa al ejercicio, que nada importe más que sentirse bien; la frase se corta en el cambio de plana

«If you do not understand that the only thing that affects your experience is how you are flowing Energy; if you think it is about chance, luck, coincidence, statistics, or the law of averages, then when you see on the news that there is a killer on the loose, shooting wildly from his car into your neighborhood, you feel vulnerable because you think that your happiness or your Well-Being is dependent upon his behavior. But if your Well-Being is dependent upon his behavior and you cannot control him, you do not even know where he is, you cannot get enough police officers to take care of him . . . then your vulnerability soars.» — la voz opone su explicación a la del azar y la estadística con el ejemplo del tirador suelto, y deriva la vulnerabilidad de hacer depender el propio bienestar de la conducta ajena

«desire to connect with the Non-Physical Energy is sufficient enough, you will find dozens of ways, in every hour, to flow your appreciation. You have to come to remember that it makes no difference whatsoever how anybody is flowing back at you, otherwise you are going to be defensive—and you cannot be defensive and appreciative at the same time. When you concentrate on appreciating, then appreciation comes right back. But you are really not looking for appreciation to come to you; you want the feeling of it flowing through you.» — la voz declara incompatibles la defensa y la apreciación, y aclara que lo que se busca no es recibir apreciación sino sentirla pasar por uno; el pasaje arranca detrás del corte de chunk que reemite la plana

«Life is not about tomorrow, it is about right now. Life is about how you are currently molding the Energy!» — el cierre del proceso 1, que pone la vida entera en el modelar presente de la energía

«When you are in the mood for a pleasing activity that will focus the Energy that creates worlds into specific directions of your personal preferences • When you want to give the Universal Manager even more specific information about the details of things that please you» — los dos casos de uso del proceso 2, la Caja Mágica de Creación, con el gerente universal del capítulo 6 nombrado como destinatario del detalle

«To begin the Creation Box process, find a nice-looking box, one that is pleasing to you when you see it. On the lid, in a conspicuous place that you will easily notice, write the words: Whatever is contained in this box—IS!» — lo que el libro prescribe para abrir el proceso 2: una caja con una fórmula escrita en la tapa, que es la única parte verbal del ejercicio

«When you are away from your box, continue to gather more pictures, and then drop them in when you return home. If you witness something you would like to experience, write a description of it, and drop that into your box.» — la continuación del ejercicio fuera de casa, con la descripción escrita admitida en lugar de la imagen

«The more things you find for your box, the more the Universe will deliver to you other ideas that match them. And the more ideas you drop into your box, the more your desire will be focused. And the more your desire is focused, the more alive you will feel—for this Energy flowing through you is what life is.» — la cadena con que la voz explica por qué el ejercicio funcionaría, del enfoque del deseo al sentirse vivo

«If you have little or no resistance—in other words, if you have no doubt that you can achieve these things, the experience will feel invigorating to you. The more you clip, the better you will feel, and you will begin to see evidence of these things moving closer and closer into your experience. Doors will begin to open to make it possible for many of these things to easily come in right now.» — la voz condiciona el efecto rápido a la ausencia de duda, que es la acotación que separa a este proceso de los de número alto

«The process will help you focus your desires, and so, you will consciously amplify Step 1 (Ask)—and now, in your absence of resistance, things will begin to happen quickly.» — y sitúa el proceso dentro de los tres pasos del capítulo 10, como amplificación consciente del primero

«If you are usually a good-feeling person who has not established strong habits of feeling unhappy about not having the things you have put into your box, you will experience the immediate positive result of feeling more focused and more excited about life, and the things you have put into your Creation Box will begin to manifest in your experience right away. In other words, for someone who has not been practicing thoughts of resistance, this process will be all that you will ever need to create a wonderful life: You ask; Source answers; you let it in. You ask, and it is given.» — la voz declara este proceso suficiente por sí solo para quien no tenga hábitos de resistencia, y remata con la fórmula del título del volumen

«And, most important, your good-feeling emotion is telling you that you are in the receiving mode right now. Your attention to this process is helping you maintain the vibrational frequency that is required for you to allow what you are asking for into your experience—you are practicing the Art of Allowing.» — y hace del propio sentir durante el ejercicio la prueba de estar en modo de recibir

«You could play this game as a mental game only, but it is so much more fun if you actually get a box and drop in things that represent your desires. You will begin to notice that when you put something in your Creation Box that does not have a pattern of resistance, the Universe will bring it to you right away. The things you drop into the box where you do have patterns of resistance will take more time in coming.» — la voz prefiere la caja material a la mental y explica la diferencia de plazos por los patrones de resistencia de cada cosa

«This process may feel whimsical to you, but it is a powerful process, for it will enhance your ability to visualize. Most people offer most of their vibrational offerings in response to what they are observing, but there is no creative control in that. Your creative control comes only in deliberately offering thought—and when you are visualizing, you have complete control.» — la voz funda el proceso en la visualización y opone el control completo de lo imaginado a la falta de control de lo observado

«Esther was playing the Creation Box game as she and Jerry were flying home from New York City to San Antonio one day. And as she was packing and getting ready for the airport, she was mentally dropping things in her box—for example, a beautiful sky; a beautiful, clear day (she loves it when they take off from LaGuardia Airport and she can see all the landmarks that she has come to know and recognize). Such a beautiful place, so many bridges and all that shimmering water, and all those majestic buildings. She thought about happy flight attendants, joyful passengers around her, and lots of fun on the trip.» — el caso que la voz cuenta de la persona que la traduce, jugando al ejercicio durante un viaje; el volumen la nombra en tercera persona dentro del propio dictado

«And then she thought, I hope this United Nations meeting doesn’t have the freeways all gridlocked. And then Esther said, “Now that’s an odd thing for me to bring to my box; I don’t want that in my box.» — y el detalle que el caso señala, el pensamiento no querido que se cuela en el ejercicio y que ella misma nota y retira

«Another example: Jerry and Esther had been looking for an Oriental rug for their home. One day while on an airplane, Esther was tearing pages out of magazines of all sorts of different things for her Creation Box, and she tore out a page that had a picture of a beautiful rug. When they arrived home, they had several boxes of mail to organize, and as Esther reached into a box, she took out a postcard from a new rug company in San Antonio—and on the postcard was the very same rug. And she squealed, “Look how fast this works!” That picture had not been in her box 24 hours before a fast and easy means to achieve it was delivered.» — el segundo caso, el del tapete recortado en el avión y la postal hallada al llegar, que el volumen ofrece como prueba de rapidez sin más cotejo que el relato

«We want you to feel the fun and joy of the process. Often, when you get something that you have been wanting, your feeling of elation is very short-lived, but this game will give you the opportunity to savor the things that you desire longer. And then, the thrill of the manifestation, even though short, will be all the sweeter.» — la voz propone el ejercicio como manera de alargar el gusto del deseo, porque el de la manifestación dice que dura poco

«Once you begin this process, you will just be knocked over by the effectiveness and efficiency of the enormous Non-Physical staff that responds to your vibrational requests. When you ask, it is given, and as you play with this Creation Box, you will learn to let it in.» — el cierre del proceso 2, que llama plantilla No Física a lo que atiende las peticiones y vuelve a la fórmula del título con su tercer paso

«Next, gather magazines, catalogs, and brochures, and leisurely look through them for whatever you would like to include in your experience. Then clip out pictures of anything that exemplifies any desires that you hold: pictures of furniture, clothing, landscaping,» — la lista de materias que el libro manda recortar para el proceso 2; la enumeración se corta en el cambio de plana, donde sigue con edificios, destinos y vehículos

«Imagine that you are sitting in your chair, and next to your chair is a box, a pretty good-sized box. And you know that you are a creator, and that this box is your creation; it is your world, so to speak. And you are like a giant, sitting here on this big chair, and you have the ability to reach out anywhere in this physical Universe and pluck whatever you want and drop it into that box.» — la versión imaginada del proceso 2, con el lector hecho gigante que arranca del universo lo que quiere

«So you bring a beautiful house, and you put it in a city that pleases you. And you bring a means of income for you, and maybe a means of income for your mate. You bring all the things you like to do—the beautiful things that you find here and there, feelings of elation and feelings of sensuality, and all of these things that you want, and you drop these things into your Creation Box.» — y lo que el libro pone de ejemplo dentro de esa caja imaginada, donde la casa y el ingreso van junto a sensaciones

«When you want to focus upon what is most important to you personally • When you want to be in more deliberate control of the primary areas of your own life • When you want to improve your state of allowing so that even more wonderful things can flow into your experience • When you want to practice a positive point of attraction until it becomes a dominant point of attraction» — los cuatro casos de uso del proceso 3, el Taller Creativo, que es el más largo de los veintidós

«Like most of the other processes offered here, this one is most effective when you perform the action in writing, but it can also be valuable to play the game in your mind while driving or walking, or anytime you are alone and have a few minutes where it is not likely that you will be disturbed.» — la voz prefiere la escritura para casi todos los procesos y admite la versión mental, con la condición de estar a solas

«categories: My Body. My Home. My Relationships. My Work. Now, focus on the first topic (My Body) and on your first page, write: This is what I desire regarding my body. Do not work hard on this list. If you cannot think of anything, move on to the next category.» — los cuatro rubros en que el libro reparte la vida entera para este proceso, con la instrucción de no esforzarse y pasar al siguiente si nada viene; la línea arranca en la plana anterior

«Now focus on each statement of desire that you have written about your body, and write the reasons why you want each of those things.» — el segundo tiempo del ejercicio, escribir la razón de cada deseo, que es lo que el proceso añade a una lista de pedidos

«I want to feel strong and fit . . . . . . because I love the feeling of stamina. . . . because I love having the energy to do all of the things I want to do. . . . because it just feels good to feel good!» — una de las cuatro cadenas de razones que el libro imprime como muestra, donde el porqué termina en el sentir y no en un fin exterior

«of desire, you activate the Energy around those subjects even more. And when you think about why you want those things, you can usually be softening your resistance around the subject while you are adding even more clarity and power to the thoughts. Why you want something defines the essence of what you want . . . the Universe always delivers to you the vibrational essence of your desire.» — la voz explica por qué el porqué importa: definiría la esencia de lo deseado, que es lo que dice que el universo entrega; la frase arranca en la plana anterior

«When you think about why you want something, you usually soften resistance, but when you think about when it will come to you or how it will come or who will help it to come, you often add resistance, especially if you do not already know the answers to those questions.» — la distinción operativa del proceso 3, dicha por la voz: el porqué ablanda la resistencia y el cuándo, el cómo y el quién la añaden

«The Creative Workshop Process will help you choose what sort of magnet you will be. And so, no longer will you be subject to what others believe, want, or see, for you will be the powerful Deliberate Creator of you and your experience.» — la voz define el proceso 3 por la elección de la clase de imán que uno será, y lo opone a quedar sujeto a lo que otros creen o ven

«If we were speaking to you on your first day of physical life experience, we would have said to you: Welcome, Little One, to Planet Earth. There is nothing that you cannot be, do, or have. You are a magnificent creator, and you are here by your powerful and deliberate desire to be here. You have specifically applied the wondrous law of Deliberate Creation, and by your ability to do that, you are here.» — el discurso de bienvenida que la voz diría al recién nacido, donde la presencia en la Tierra queda puesta como resultado de un deseo deliberado propio

«Go forth and attract life experience to help you decide what you want. And once you have decided, give thought only to that. Most of your time will be spent collecting data that will help you decide what it is you want, but your real work is to decide what you want and then focus upon it, for» — y la instrucción que le daría: reunir datos para decidir qué se quiere y después pensar solo en eso; la frase se corta en el corte de chunk que reemite la plana

«But we are not talking to you on the first day of your life experience. You have been here for a while, and most of you see yourselves not only through your own eyes—in fact, not even primarily through your own eyes—but you see yourselves mostly through the eyes of others. And so, many of you are not now currently in the state of being that you want to be.» — la voz acota de inmediato ese discurso: al lector no se le habla el primer día, y ya se ve sobre todo por ojos ajenos

«From our perspective, there is a great difference between that which now exists —that which you call your reality—and that which your reality really is.» — y distingue lo que existe ahora de lo que llama la realidad de cada quien, que es la distinción en que se apoya el ejercicio entero

«Even as you may be sitting there in a body that is not healthy, or in a body that is not the size or shape or vitality that you choose, in a lifestyle that may not be pleasing you, driving a vehicle that perhaps embarrasses you, or interacting with others who may not bring you pleasure, we want to assist you in understanding that while this may seem to be your state of being, it need not be.» — la voz enumera las circunstancias que el lector podría estar viviendo, del cuerpo al coche, y concede que parezcan su estado sin conceder que tengan que serlo

«We encourage you to go to your workshop every day, but only for a short period of time. Fifteen or twenty minutes is enough. It is good if it is a place where you can sit and write, although it can be done in your mind at any place where you are not distracted. But it is not a place where you will enter an altered state of consciousness; it is not a meditative state. This is a place where you will go, clearly giving thought to what you want, so much so that it stirs positive emotion within you. Go to your workshop with an uplifted, lighthearted feeling. If you are not happy, it is not a good time for your Creative Workshop.» — lo que el libro prescribe sobre la práctica del proceso 3: quince o veinte minutos diarios, sin estado alterado ni meditación, y nunca cuando se está mal

«Your work here in this workshop is to assimilate data that you have been collecting from your real-life experience, and to bring the data together in a picture that satisfies and pleases you. During your day, no matter what you are doing—as you are going to your job, working around your home, interacting with your family and friends—collect the data on things you like that you may later bring into your workshop.» — la voz define el trabajo del taller como reunir en un cuadro los datos recogidos durante el día, que es lo que lo ata a la vida corriente

«I like being here, for I recognize the value and power of this time. I feel very good as I am here. And as I see myself, I see myself as a sort of total package, one that I know is of my own creating, and certainly one of my choosing. I’m full of Energy, tireless, really, moving through life experience with no resistance. I see myself gliding about in this picture of self, moving in and out of my car, in and out of buildings, in and out of rooms, in and out of conversations, and in and out of life experiences. I am flowing effortlessly, comfortably, and happily.» — el arranque del guión que el libro imprime como ejemplo del taller, dicho en primera persona y en presente

«I recognize that I’m unlimited in all facets of my life. I have an unlimited bank account. I am experiencing no financial limitations. I’m making all my decisions based upon whether I want the experience or not, not based upon whether I can afford it. I know that I’m a magnet attracting whatever level of prosperity, health, or relationships I choose.» — el tramo del guión sobre el dinero, donde las decisiones se toman por el deseo de la experiencia y no por lo que se puede pagar

«I choose absolute and continuing abundance, for I understand that there is no limit to the wealth in the Universe, and that by my attracting abundance to me, I’m not limiting another. There’s enough for everyone. It’s not necessarily about putting a big stash away. For whatever I want or need, I can easily bring into my experience. There’s an unlimited supply of money and prosperity of all kinds available to me.» — y el tramo donde el guión recoge la tesis del capítulo 16, que atraer abundancia no limita a nadie

«As you enter your workshop already feeling good, and then you bring to your workshop specific aspects of life experience that please you, and as you envision these things in greater detail, your life outside of your workshop will begin to reflect the images that you have created within your Creative Workshop. This is a powerful tool that will help you create the perfect life for yourself.» — el cierre del proceso 3, que hace de lo imaginado en el taller el molde de lo que después se refleja fuera

«Begin this Creative Workshop Process with four pieces of paper, and at the top of each sheet write one of the following headings, or» — lo que el libro prescribe para abrir el proceso 3, cuatro hojas con un encabezado cada una; la frase se corta en el cambio de plana, donde van los cuatro nombres

«I want to make more money. I want to feel excited about what I’m doing. I want to enjoy the people I work with. I want to feel a stronger sense of purpose.» — la muestra del cuarto rubro, el trabajo, donde el dinero encabeza y el sentido cierra; el volumen la repite abajo con su porqué

«about your body. For example: I want to return to my ideal body weight. I want to get a great haircut. I want to find some wonderful new clothes. I want to feel strong and fit.» — la muestra de deseos que el libro imprime para el primer rubro del proceso 3, el cuerpo; cada uno se repite unas líneas abajo encabezando su cadena de razones

«about your home. For example: I want to find some really great furniture. I want to get more organized. I want sliding shelves in the cupboards where I keep my pans. I want beautiful tile in my bathroom.» — la muestra del segundo rubro, la casa, donde los deseos son menudos y domésticos y no grandes propósitos; el volumen los repite abajo con su porqué

«that feels most significant to you right now). I want to spend more time together. I want to have more fun together. I want to eat out together more often. I want to relax more and play more often.» — la muestra del tercer rubro, la relación, con la instrucción previa de elegir la que en ese momento pese más; el volumen la repite abajo con su porqué

«When you are feeling good, and you want to practice a vibration of allowing • When you find yourself remembering a pleasant experience, and you want to extend the feeling longer and even move it to a better-feeling place • When you have extra time, and you wish to spend it in a pleasant way» — los tres casos de uso del proceso 4, la Realidad Virtual, que es el primero de la serie cuyo rango baja hasta el aburrimiento

«So, you could say that the Universe responds to your vibrational offering, to your point of attraction, to the thoughts you think, and to» — la voz enumera a qué responde el universo según ella; la frase se corta en el cambio de plana, donde añade el sentir

«The Universe makes no distinction between your actually having a million dollars and your giving thought to having a million dollars. Your point of attraction is about your thoughts, not about your manifestations.» — la afirmación sobre la que descansa el proceso 4, que el universo no distinguiría entre tener un millón y pensar en tenerlo

«This Virtual Reality Process is not one where you try to fix something that is broken. It is one where you deliberately activate a scene in your own mind that causes you to offer a vibration matching the scene you have activated—and as you practice visualizing pleasant scenes in your mind, these good-feeling vibrations can then become your new set-point.» — la voz acota el ejercicio: no sirve para arreglar nada, sirve para practicar una escena agradable hasta que su vibración se haga punto de ajuste

«Remember, the Creative Workshop Process comprises three steps: (1) Ask (that is easy, you do it all the time). (2) Answer the asking (that is not your work—Source Energy does that). (3) Allow (be in the receiving mode of what you are asking for).» — la voz vuelve a los tres pasos del capítulo 10 y los atribuye aquí al proceso 3, con el segundo otra vez fuera del trabajo del lector

«It is important that you realize that Steps 1 and 3 are different. When you are focused upon, or praying for, something you really want or need, often you are not a vibrational match to the thing you» — y separa el pedir del recibir con el ejemplo de la plegaria, donde lo pedido con urgencia no coincide con lo pedido; la frase se corta en el cambio de plana

«When the bills all come at once, there is not enough money to pay them, and you feel frightened and fearful and say, “I need more money,” or you try to use more positive words such as “I want more money,” you are doing Step 1. You are setting forth your desire. But you are not in Step 3, so you are holding yourself apart from what you are asking for.» — el ejemplo de las cuentas, donde el libro distingue el primer paso del tercero y declara insuficiente cambiar necesito por quiero

«You are continually asking. You cannot stop asking; contrast is evoking the desire from you. Your real work is to find a way to be in the receiving mode. It is similar to wanting to receive a satellite or radio signal. To do so, you have to set your receiver on the same wavelength as the transmitter or you are going to get static; you are not going to get a clear signal. In like manner, you recognize the alignment of your (transmitted and received) signals by feeling the alignment of your emotions.» — la voz deja el trabajo entero del lado de ponerse en modo de recibir, con el símil de sintonizar la señal y la emoción por indicador de sintonía

«We want you to relax and not be so hard on yourself when you find yourself in a place of negative emotion. Negative emotion is a good thing in that it is letting you know that some tweaking is required in order for you to be in harmony with who you are.» — la voz llama buena a la emoción negativa por lo que informa, y pide no ser duro consigo mismo al sentirla

«If you are really out of sync; in other words, if you can really feel that you are not in a good-feeling place, then a more soothing process that we would recommend would be that of Meditation. Because when you quiet your mind, you stop thought, and when you stop thought, your vibration automatically rises.» — la voz remite al proceso 6 para el caso peor y explica la meditación por detención del pensamiento, no por contenido

«But this process of Virtual Reality will help you in two specific ways: You will become accustomed to the way non-resistance feels, so you will recognize when you have moved into resistant thought at an earlier stage when it is easier to move back out again. And, in every moment that you are in your state of non-resistance, the Law of Attraction will be responding to you in a positive way.» — las dos utilidades que la voz atribuye al proceso 4, reconocer antes la resistencia y ganar momentos sin ella

«Virtual Reality is a process where you get to choose everything about this moment in time, just like a director in a movie would do. To begin this process, you would first decide: Where does this scene take» — la voz define el proceso 4 por el símil del director de cine, que elige todo lo de la escena; la frase se corta en el cambio de plana

«Is it indoors or outdoors? What time of day is it? Is it morning, afternoon, or evening? Is the sun just coming up or going down? Is it broad daylight? What does the air feel like? What is the temperature? How are you dressed? Who else is there? Choose something that feels good to you.» — las preguntas con que el libro manda armar la escena, del lugar y la hora a la ropa y la compañía

«The purpose of this Virtual Reality Process is to cause you to activate vibrations within you that put you in the place of allowing your Well-Being. So you would not create a Virtual Reality where you build your new house with a leaky roof and then bring repair people into your Virtual Reality to fix the leaky roof. You would not put up ugly wallpaper and then bring someone in to replace it. In your Virtual Reality, you can make it be precisely the way you want it to be.» — la voz pone el ejemplo del techo con goteras para explicar la regla del ejercicio: en la escena imaginada nada se arregla porque nada se estropea

«Do not use this process to try to improve a specific existing situation, because in your attempt to fix something, you will bring the existing vibration into your Virtual Reality, and in doing so, you will lose the power of the Virtual Reality Process.» — y lo prohibe expresamente para una situación real, porque al intentar arreglarla se metería su vibración en la escena

«There is no reason that Well-Being is not pouring into your experience in precise detail in response to all of the things that you have identified that you want, other than the fact that you are in a bad mood, or are angry or worried about something.» — la voz adjudica al mal humor, al enojo o a la preocupación la única causa de que el Bienestar no llegue

«Esther once practiced this game of Virtual Reality while she was driving the big bus she and Jerry travel in. She discovered that it worked best for her to get into the scene quickly, bring herself to a place of really feeling good, and then get out. If she stayed too long, she would get too practical and try to reform people or fix things. But when she would just decide where the good-feeling place was going to be by picking something that made her heart sing . . . deciding who else was going to be there, identifying what kind of mood they would be in, and then just speaking a few words of dialogue—and getting out —it felt wonderful.» — el caso de la persona que traduce el volumen jugando al ejercicio al volante, con el hallazgo de entrar y salir rápido antes de ponerse práctica y querer arreglar a la gente

«We would encourage you to play this game when you are driving, standing in a line, or lying in your bed, or you could even just set some time aside to do it. As you create these scenarios that make you feel good, you activate a vibration that does feel good, and then the Law of Attraction matches that vibration. There is nothing more important than that you feel good—and there is nothing better than creating images that cause you to feel good.» — lo que el libro prescribe sobre cuándo jugar el proceso 4, y la declaración de que nada importa más que sentirse bien

«The Universe does not know (or give attention to) why your vibration is what it is in any moment. In other words, the doctors could have diagnosed you as being disease-ridden yesterday, and today you could be driving down the highway (like Esther did), in some sort of fantasy Virtual Reality. In that moment, there would be no representation of any disease within your body. And if you could maintain that vibration more than you maintain your awareness of the disease, it could not remain in your body. It is only there because, somehow, without knowing it, you have chosen thoughts that are a vibrational match to the essence of the disease.» — la voz aplica el proceso a la enfermedad y sostiene que un diagnóstico no tendría peso vibratorio frente a la escena imaginada; es de las afirmaciones más fuertes del volumen sobre la salud

«Every thought that you have chosen that is a vibrational match to disease . . . feels bad when you think it. It feels like anger, frustration, resentment, blame, guilt, or fear. . . . Those thoughts are not good for you,» — y da la regla con que el volumen mide un pensamiento: el que coincide con la enfermedad se siente mal al pensarlo; la frase se corta en el corte de chunk que reemite la plana

«Something that you lived a long time ago that is not active in your vibration, or something that you lived yesterday that you are not thinking about right now, does not have any vibrational weight in your point of attraction—none whatsoever. So you do not have to rid yourself of all negative thoughts.» — la voz retira peso a todo lo no activo en el presente y por eso niega que haya que limpiar el pasado, que es lo que la aparta de las terapias de revisión

«Sometimes, as you are interacting with others, you will hear, see, or smell something that triggers a vibration within you that does not feel very good as it is activated. And that is the time for you to say, “Oh,» — la voz describe el momento en que algo ajeno activa una vibración incomoda; la frase se corta en el cambio de plana, donde va la fórmula que el libro pone en boca del lector

«my guidance system is working. I can feel that there’s something activated within me that’s not serving me very well. Because, in the activation of this vibration, there’s some resistance within me that is now disallowing the Well-Being that would be there otherwise.» — la fórmula que el libro prescribe decirse en ese momento, que lee la incomodidad como aviso del propio sistema y no como cosa que otro causó

«So that is the time to choose a thought that feels better. And if you have practiced Virtual Reality, then it will be very easy for you to reach for a thought that feels better. But if you have not been practicing, then when you are in the middle of a negative thought, you do not have anywhere positive to go. So you just have to wait until that thought peters out.» — y da la razón de practicar el ejercicio de antemano: en medio del pensamiento negativo no habría adónde ir

«So she and Jerry were on the road, and in about ten minutes, a truck swiftly passed them, causing a rock to ricochet off the windshield of their motorcoach. Almost immediately, Esther got to experience the need for windshield repair that she had been visualizing. No matter whether you worry or rejoice in your Virtual Reality, you set up a vibration that the Law of Attraction matches.» — y su desenlace, la piedra contra el parabrisas diez minutos después, con la moraleja de que la ley no distingue entre temer y desear; la frase arranca en la plana anterior

«Someone said to us, “Abraham, I have a hard time visualizing. When I think about going to Virtual Reality, it’s just sort of a blank place for me. I don’t know how to do this.” And we said, Can you remember events that have happened? If you can remember, then you can do Virtual Reality, because none of that is right here, right now; and as you are remembering, you are re-creating it from something.» — la objeción de quien dice no saber visualizar, contestada por la voz con que recordar y visualizar serían la misma operación

«So, visualizing, or Virtual Reality, is no different. It is conjuring, but with the singular intention of pleasing yourself as you do so.» — la voz llama conjuro a la visualización y la distingue del recuerdo solo por la intención de agradarse

«As you practice this process and stimulate your imagination more, you will not only find the process to be a delightful, good-feeling way to spend some time, you will discover that your dominant vibration on a myriad of subjects is changing, and your life experience will now begin to reflect these wonderful improvements.» — el cierre del proceso 4, con el cambio de la vibración dominante en muchas materias por resultado de ejercitar la imaginación

«The thing that we see that most commonly trips you up is that in the contrast—which is necessary and valuable to help you give birth to a rocket of desire—often there is an activation of many kinds of jumbled Energy. Usually, in order for you to know that you want something, you have to pretty well have chewed on details or events that have helped you know what you do not want.» — la voz describe la trampa del contraste: para saber lo que se quiere suele haberse rumiado antes lo que no, y eso deja la vibración mezclada

«In other words, when do you speak most clearly about wanting to be well? Usually when you are less than well, correct? When does your strongest desire for more money really kick into high gear? Most likely when there is not enough money. When you are confused, that is when you want more clarity, right? When you are overwhelmed, isn’t that when you want more serenity? And when you are bored, isn’t that when you want more stimulation?» — y lo muestra con cinco preguntas seguidas, donde cada deseo se formula con más fuerza justo desde su carencia

«Place: A lovely, white sandy beach. “It’s wintertime, but the weather is delightful. It’s 70 degrees with scattered clouds, and the air feels wonderful on my skin. “I have no shoes on, so I’m enjoying the feeling of the cool, clean sand under my feet. My clothes are loose fitting and very comfortable, and I feel very good in my body. And I am lazily walking down the beach, feeling strong, happy, and secure.» — la primera mitad de la escena que el libro imprime como muestra del proceso 4, con el clima, la arena y el cuerpo, dicha en primera persona

«My five-year-old granddaughter is with me, and she is loving this glorious day, as I am. She’s glad to be with me, but she does not seem to need me to entertain her; and I’m enjoying watching her happy, self-empowered activity as she runs, digs in the sand, and enjoys this lovely beach. I’m very glad that we’ve come to this place. It was a very good choice. “My granddaughter runs up to me, holding a shell that she’s discovered, and with a gleeful sweet voice and bright sparkling eyes, she says, ‘Grandma, I’m so happy we’re here. Thank you for bringing us here.’ And I tell her, ‘You are most welcome, sweet girl. I love being here with you.» — y la segunda, con la nieta y el diálogo, seguida de la instrucción de salir del ejercicio en el punto alto

«When you want to expand your ability to imagine • When you want to add more clarity or specificity to your desire • When you want to enhance the flow of money into your experience • When you want to enhance the flow of abundance with respect to a variety of things» — los cuatro casos de uso del proceso 5, el Juego de la Prosperidad, con la imaginación encabezando y el dinero en tercer lugar

«This Prosperity Game will be of the most value to you when your Emotional Set-Point is ranging somewhere between: (1) Joy/Knowledge/Empowerment/Freedom/Love/Appreciation and (16) Discouragement» — el rango emocional de este proceso, que baja hasta el desaliento y lo hace mucho más ancho que el de los cuatro anteriores

«In this process, you will begin by establishing an imaginary checking account. In other words, there will be no actual bank involved, but you will make deposit entries and check withdrawals just as if it were an actual account. You could use an old checkbook system that is no longer in use, an accounting program in your computer, or you could even manufacture a complete system by using a notebook as your checkbook register and blank pieces of paper for your deposit slips and checks. It is of value to make this process feel as real to you as possible.» — lo que el libro prescribe para abrir el proceso 5, una chequera imaginaria llevada con la mayor apariencia de realidad posible

«On the first day, deposit $1,000. And spend it. In other words, make a $1,000 deposit entry into your checkbook register, then write out checks to spend those dollars. You could spend your money all in one place, using one check, or you could spend it for several different things, using several different checks. The point of the game is to have fun thinking about what you would like to purchase, and to enjoy the process of actually writing out the checks.» — la regla del primer día, con el gasto por objeto del juego y el placer de escribir los cheques por criterio

«Be descriptive on the memo portion of the check. For example: For a beautiful writing pen or Great running shoes or Membership at Gordon’s Health Spa. You can spend it all today, or save some of it for another day. However, we encourage you to do your best to spend it today, because tomorrow you will be making another wonderful deposit.» — la instrucción de detallar el concepto de cada cheque, con tres ejemplos que el libro imprime

«On the second day, deposit $2,000. On the third day, deposit $3,000. On the fourth day, deposit $4,000. When you reach day 50, deposit $50,000. When you reach day 300, deposit $300,000. If you play this game every day for one year, you will have deposited and spent more than $66 million.» — la progresión del juego y su cuenta final si se juega un año entero, que es la cifra con que el libro mide la expansión de la imaginación

«You will be benefiting by increasing your ability to imagine. In other words, you will discover, as you play the game for a few weeks, that it will begin to take real concentration to spend that much money. And so, your ability to imagine will expand tremendously.» — la voz declara que el beneficio está en la imaginación y no en el dinero, porque a las pocas semanas costaría trabajo gastar tanto

«The Universe makes no distinction between the vibration you offer in response to what you are living and the vibration that you offer in response to what you are imagining, so this Prosperity Game Process is a powerful tool for shifting your vibrational point of attraction.» — la voz repite para este proceso la premisa del anterior, que el universo no distinguiría lo vivido de lo imaginado

«By writing the checks, using your imagination, writing the memos, focusing as you write, and feeling no resistance as you write the checks because there is no fear of overspending, you will achieve what is necessary in the achievement of anything: You will have made a statement of desire while you are in the state of nonresistance, or better said, in the state of allowing.» — la voz explica por qué el juego rinde: el dinero imaginario quita el miedo a gastar de más, y así el deseo se enuncia sin resistencia

«You can start the game or stop it, and you can play it in any way you like. There are no rules; there is nothing that you should or should not do. In other words, pick it up and play with it. Spend as much as you want. But the important thing is: Do your best to exercise your imagination.» — la voz niega reglas al juego y deja una sola cosa por importante, ejercitar la imaginación

«If you were a sculptor on your first day of sculpting, you would not take your big clump of clay and throw it down on the table and say, “Oh, it didn’t turn out right.” You would mold it. You would get better at it. You would get more clay. You would get different-colored clay. You would find a way to continue to evolve in your creative endeavor. And yet, when it comes to the creation that you mold with the clay of the Energy that creates worlds, most of you make no conscious effort to direct your thought. In other words, it is as if somebody else took the clay and threw it down there, and now you spend your life just talking about how it looks.» — la voz vuelve al símil del escultor del capítulo 9 y lo usa para objetar que se pase la vida comentando cómo quedó el barro

«“Well, that didn’t turn out very good. My parents should have done something different about that,” or “The economy should be doing something different than that,” or “There is injustice or unfairness,” or “I don’t like the way somebody else dealt with that.” And we say, Get your hands in your own clay! Summon the Energy through the power of your desire, and mold it through the power of your imagination.» — la voz cita cuatro quejas corrientes, la familia, la economía, la injusticia y la conducta ajena, y contesta con la instrucción de meter las manos en el propio barro

«A friend said to us recently, “Abraham, I don’t think you care if my lover ever comes to me. I think you want me to get so good at imagining him that I don’t notice that he’s not here.” And we said, That is exactly right, because when you are imagining that he is here, then, in your joy, in that moment, you vibrate in a place where you summon and allow GOD Force—Life Force—to flow through you. And there is nothing more wonderful than that.» — la objeción de quien sospecha que el ejercicio sirve para no notar la ausencia de lo deseado, y la voz se la concede sin rodeos

«And then we said, Oh, and by the way, when you get there, he cannot not come. But as long as your desire for him to come is more about your awareness that he has not come, not only can he not come, but the misery that you are feeling in that moment is because you are choosing a vibration that does not allow the Energy that your desire is summoning.» — y la añadidura con que el volumen sostiene a la vez las dos cosas, que lo deseado no podría faltar y que desearlo desde la conciencia de su ausencia lo impide

«Joyously playing this Prosperity Game will not only improve your financial state of being, but every aspect of your life will improve as well. It will not only help you activate more vibrations around things that you want, but it will assist you in focusing, more of the time, in a way that allows the things that you want to flow into your experience. Playing this game will cause you to offer a more expansive, expectant vibration. And it is our promise to you that manifestations will begin to arrive in response to your changed vibration.» — el cierre del proceso 5, con la promesa de manifestaciones en respuesta al cambio de vibración

«When you want relief from resistance • When you want an easier way of immediately raising your vibration • When you want to raise your general level of vibration • When you want to feel an awareness of your Inner Being» — los cuatro casos de uso del proceso 6, el de la Meditación, único de los veintidós cuyo rango cubre la escala entera

«This process of Meditation will be of the most value to you when your Emotional Set-Point is ranging somewhere between: (1) Joy/Knowledge/Empowerment/Freedom/Love/Appreciation and (22) Fear/Grief/Depression/Despair/Powerlessness» — el rango emocional de este proceso, que va del primer grado al vigésimo segundo y lo hace aplicable desde cualquier estado

«Any thought that you continue to think is called a belief. And many of your beliefs serve you extremely well: thoughts that harmonize with the knowledge of your Source, and thoughts that match the desires that you hold . . . but some of your beliefs do not serve you well: Thoughts about your own inadequacy or your unworthiness are examples of those kinds of thoughts.» — la voz repite la definición de creencia por pensamiento sostenido y reparte las creencias en las que sirven y las que no, con la indignidad de ejemplo

«We playfully tell our physical friends that the reason we teach the process of Meditation is because it is easier for most of you to clear your minds, having no thought, than it is for you to think pure, positive thoughts. For when you quiet your mind, you offer no thought; and when you do so, you offer no resistance; and when you have activated no resistant thought, the vibration of your Being is high and fast and pure.» — la razón con que la voz funda el proceso 6: vaciar la mente sería más fácil que llenarla de pensamiento puro, y sin pensamiento no habría resistencia

«Imagine a cork bobbing on a body of water. (That represents the place of high, pure, fast vibration that is actually natural to you.) Now, imagine holding the cork down under the water. (That is what resistance is like.) And now, imagine letting go of the cork—and see it rise back up to the surface of the water.» — el símil del corcho con que el volumen explica la resistencia, que aquí sustituye al del indicador de gasolina y al del escultor

«A decision is the focusing of the vibration of desire, and the decision point happens when the desire is powerful enough. The only discipline that we would like you to exercise is to make a decision that nothing is more important than that you feel good, and that you are going to find thoughts that feel better. Your cork floating is the only thing that is worthy of discipline.» — la voz define la decisión por la fuerza del deseo y deja una sola disciplina, que nada importe más que sentirse bien

«Now, to begin the process of Meditation, sit in a quiet space where you are not likely to be interrupted. Wear comfortable clothing. It does not matter if you sit in a chair or on the floor, or even lie on your bed (unless you tend to fall asleep when doing so). The important thing is that your body be comfortable.» — lo que el libro prescribe para el proceso 6, con la postura declarada indiferente y la comodidad por único requisito; repite la instrucción que la introducción de Esther Hicks atribuye a Theo

«Now, close your eyes, relax, and breathe. Slowly draw air into your lungs, and then enjoy the comfortable release of that air (your personal comfort here is very important).» — la segunda instrucción del proceso, respirar despacio, con la comodidad personal otra vez puesta por encima de la técnica

«As your mind wanders, gently release any thought, or at least do not encourage it by pondering it further—and refocus upon your breathing.» — la tercera instrucción, soltar el pensamiento que llegue sin alimentarlo; es la misma que la introducción de Esther Hicks atribuye a Theo y a la que la voz achaca haber tardado en llegar

«You are, by nature, one who wants to focus, so in the beginning, this process of Meditation will feel unnatural, and you will find your mind wanting to return to things you have been focusing on previously. When that happens, relax, breathe again, and try to release the thought.» — la voz advierte que el ejercicio sentirá antinatural, porque enfocar sería lo propio del lector

«You will find it easier to quiet your mind if you will choose small thoughts that do not have the potential for expanding into something interesting: You could focus upon your own breathing. You could mentally count your breaths, in and out. You could listen to the dripping of a faucet. . . . In choosing the soft, gentle thought, you will leave behind all thoughts of resistance—and your vibration (like the cork) will naturally rise.» — el recurso que el libro prescribe para acallar la mente, elegir pensamientos pequeños que no puedan crecer, con tres ejemplos

«This is not a process where you work on your desires, but instead, this is one of quieting your mind. As you do so, any resistance will subside, and your state of vibration will rise to its natural, pure state.» — la voz separa este proceso de los anteriores: aquí no se trabaja sobre el deseo sino sobre el silencio

«As you quiet your mind, you may feel a sense of physical detachment. For example, you may feel no real difference between your toe and your nose. Sometimes you will feel the sensation of twitches and itches beneath your skin. And often, once you have released resistance and are soaring in your natural pure, high vibrations—you will feel an involuntary movement in your body. It may sway slightly from side to side or forward and backward, or your head may roll gently from side to side. Or, you may simply feel the sensation of movement or of a yawn. But any or all of these sensations or movements are indicators of your achievement of a state of Meditation.» — las señales corporales que el libro da por indicadores del estado, del desapego físico al balanceo involuntario y al bostezo

«Your point of attraction will now have changed, and your state of allowing will be in place. Things that you have been asking for— all of which have been given—are now flowing gently into your experience. And as you come out of your state of meditation, this state of allowing will continue until you focus upon something that changes your vibrational frequency. But with enough practice, those higher frequencies will become so familiar to you that you will be able to reclaim them whenever you choose.» — la voz describe lo que seguiría al ejercicio, con el estado de permitir sostenido hasta que algo cambie la frecuencia

«Sometimes people say, “Abraham, is it normal for all hell to break loose in someone’s life when they begin the Meditation Process?” And we say yes, because you are bringing yourself to a place of heightened sensitivity so that your formerly achieved patterns of lower vibration are now less comfortable to you.» — la voz concede que la vida puede desordenarse al empezar a meditar y lo explica por sensibilidad aumentada a los propios patrones

«Now, there are other ways of raising your vibrations than Meditation, such as listening to music that makes your heart sing, jogging in a beautiful place, petting your cat, walking your dog, and so on. These are just some of the many pleasant activities that cause a release of resistance and a rise in vibration.» — la voz admite otras vías fuera del ejercicio, la música, la carrera y el trato con los animales, con lo que quita a la meditación el privilegio

«Often you are in your highest state of connection to Source Energy while you are driving your vehicle. That is the reason why there are relatively so few traffic accidents. The rhythm of the road, the distraction from what has been bothering you, and the idea of going someplace new often causes you to leave behind thoughts of things that have been bothering you.» — la voz atribuye al volante uno de los estados de mayor conexión y explica por ahí lo escaso de los accidentes, que es de sus afirmaciones de hecho más expuestas

«Your goal is to release any thought that causes resistance so that you are then in a place of pure, positive thought. It is not a problem if you cannot completely quiet your mind—unless your mind is chattering about negative things. If you are softly thinking about pleasant things during Meditation, it can be of value.» — la voz acota el objetivo del ejercicio: no haría falta callar del todo la mente salvo que lo que diga sea negativo

«In other words, it is quite easy to find something that is pure, positive Energy. Thinking about your pets can be a good source of positive thought because animals are so unconditional in their love. Just find any thought that feels good when you think it, and practice it until you begin to set that tone within you. And then, other good-feeling thoughts will follow.» — la voz propone el pensamiento sobre los animales como fuente segura de energía positiva, por lo incondicional que llama a su afecto

«So, here is the process that, if we were in your physical shoes, we would utilize: Every day, for 10 or 15 minutes, and not for much more time than that, we would sit quietly by ourselves in some pleasant place where we would not be interrupted—maybe under a tree, maybe in our vehicle, maybe in the bathroom or garden . . . . We would do our best to shut down our physical senses. In other words, we would draw the curtains if the light was too bright; we would close our eyes; we would choose a quiet place.» — la voz dice lo que haría en el lugar del lector y fija el tiempo, de diez a quince minutos diarios y no mucho más

«This is a state of allowing where, for just a few moments, you stop running the show. You stop trying to make anything happen. This is the time when you are saying to your Source Energy, to your Inner Being, to your GOD (or whatever you want to call it)» — la voz define el ejercicio como dejar de llevar uno la función, y nombra al destinatario dejando el nombre a elección del lector

«state of allowing. I’m allowing Source Energy to flow purely through me. Fifteen minutes of effort will change your life because it will allow the Energy that is natural to you to flow. You will feel better in the moment, and you will feel more energized when you come out of it.» — la fórmula que el libro pone en boca del lector y la promesa de los quince minutos; el pasaje arranca detrás del corte de chunk que reemite la plana

«you might say, “Abraham, I didn’t sit and intend. I didn’t sit and set goals. I didn’t sit and clarify what I want. I didn’t tell the Universe what I wanted. Why does 15 minutes of just being, set those kinds of things in motion?” Because you have already been asking, and now, during your time of Meditation, you have stopped the resistance that has been holding it away. Because of your practiced Meditation, you are now allowing your desires to flow into your experience.» — la objeción de que en la meditación no se pide nada, contestada por la voz con que el pedir ya estaba hecho y lo que el ejercicio quita es la resistencia; la cita arranca en la plana anterior

«“Well, Abraham, if I’ve been really negative for 50 years, is it going to take me 50 years to turn it around?” No, 15 minutes ought to do it. “In 15 minutes I can undo all of the disallowing that I’ve learned to do?” In 15 minutes you can allow—you do not have to undo anything.» — el diálogo en que la voz niega que haya que deshacer nada y sustituye el deshacer por el permitir

«“Well, what if I’ve really developed major habits of negativity? Is 15 minutes going to change that?” Probably not. But the next time you go to one of those negative thoughts, you are going to be more aware of it. Your guidance system is going to be stimulated so that you will be aware— probably for the first time in your life—of what you are doing with your Non-Physical Energy.» — y la reserva que el volumen se pone a sí mismo en el mismo diálogo: con hábitos fuertes, quince minutos probablemente no bastarían, y lo que sí darían es conciencia

«Do you know that you could have every deadly disease known to man (and some they have not even figured out yet) in your body right now, and tomorrow they could all be gone if from one day to the next you learned how to allow the Energy to flow? We are really not encouraging those kinds of quantum leaps; they’re a little uncomfortable.» — la voz afirma posible la desaparición de cualquier enfermedad de un día para otro y en la misma frase desaconseja ese salto por incómodo

«What we are really encouraging is that every day, you be selfish enough to say, “Nothing is more important than that I feel good. And I’m going to find ways to do so today. I’m going to begin my day by meditating and bringing myself into alignment with my» — lo que el libro prescribe en su lugar, dicho en primera persona por el lector; la frase se corta en el cambio de plana

«Source Energy. And as I move through the day, I’m going to look for opportunities to appreciate, so that all day long I’ll bring myself back into Source Energy. If there’s an opportunity to praise, I’m going to praise. If there’s an opportunity to criticize, I’m going to keep my mouth shut and try to meditate. If I feel like criticizing, I’ll say, ‘Here kitty, kitty,’ and I’ll pet my cat till that feeling goes away.» — la continuación de esa fórmula, con el gato como recurso práctico para no criticar; la frase arranca en la plana anterior

«Within 30 days of mild effort, you can go from being one of the most resistant people on the planet to one of the least resistant people on the planet. And then those who are watching you will be amazed by the number of manifestations that begin to occur in your physical experience.» — la voz cifra en treinta días de esfuerzo leve el paso de la mayor a la menor resistencia

«We sort of see you from an aerial view, and it is like you are standing on one side of a closed door, and on the other side are all the things you have been wanting, just leaning up against the door, waiting for you to open it. They have been there from the first moment you asked for them: your lovers, your perfect bodies, your ideal jobs, all the money that you could ever imagine, all the things that you have ever wanted! Things little and things big, things that you would call extraordinary and significant and things that you would call not very significant—everything that you have ever identified that you have ever wanted will be lined up right outside your door.» — el símil de la puerta cerrada con todo lo pedido apoyado del otro lado, que es la imagen con que el volumen resume su propia tesis

«And in the moment that you open the door, all things wanted will flow to you. And then we will hold a seminar on “How to Deal with Manifestations of All This Stuff That Is Flowing In.» — el cierre del proceso 6, con una broma sobre un seminario para lidiar con tanta manifestación junta

«Like the cork, naturally floating on the water’s surface, it is natural for you to experience the high, fast, pure vibration, free of the hindering resistance. And, like the cork, if you are not doing something that holds you down under the water, you will bob right back up to the surface where you belong.» — la voz saca del símil del corcho lo que ordena el proceso: la vibración alta sería el estado natural y volvería sola si se deja de sostener el corcho abajo

«In other words, you do not have to work at being in the high vibration that is natural to you, because it is natural to you. But you do have to stop holding the thoughts that cause you to lower your vibration. It is a matter of no longer giving your attention to things that do not allow your cork to float or do not allow you to vibrate in harmony with who you really are. If you are not focused upon unwanted things that are the opposite of your own pure desire, you will activate no vibration of resistance— and you will experience your natural state of thriving and Well-Being.» — y remata que no hay trabajo que hacer sino atención que retirar, que es lo que distingue a este proceso de los que piden imaginar

«An effective Meditation would be one that distracts you from any physical awareness that causes resistance within your vibration, for when you turn your attention away from what holds your vibration in a lower place, your vibration will naturally rise. It is like a withdrawal of Consciousness, but while you are still awake.» — la voz define la meditación eficaz por distracción de lo físico y la llama retiro de la consciencia estando despierto

«When you are asleep, you withdraw Consciousness, too, but when you slumber you are not consciously aware of what it feels like to be in that higher vibration. When you are awake and in a state of meditation, you can then consciously recognize what it feels like to be in that higher vibration. And in time, you will gain a new sensitivity to your vibration so that you will immediately know whenever you are focusing on something that is causing resistance.» — y la distingue del sueño por la conciencia de lo que se siente estando en esa vibración, que es lo que daría con el tiempo la sensibilidad al propio estado

«We would be aware of breathing air into our lungs, and we would be conscious of breathing out. We would concentrate on long breaths in and long breaths out. We would breathe air in, and when we thought it was all our lungs would comfortably hold, we would softly bring still more air in. And then, at a place of full expansion of our lungs, we would take a long, slow, delicious moment to let the air out.» — el detalle de la respiración que el libro prescribe para el proceso 6, con la inspiración llevada más allá de lo cómodo

«Our intention would be nothing more than being in this moment and being consciously aware of our breathing, nothing to do other than breathe—not fixing breakfast, not combing hair, not wondering how someone is doing, not thinking about yesterday, not worrying about tomorrow, not focusing on anything in this moment except air in and air out.» — y la lista de lo que queda fuera durante esos minutos, del desayuno al recuerdo de ayer y a la inquietud por mañana

«When you want to understand why you are having a particular dream • When you want to understand what your vibrational point of attraction is, and what you are in the process of creating even before it manifests into your real-life experience» — los dos casos de uso del proceso 7, la Evaluación de los Sueños, que es junto con el de la meditación el otro de rango completo

«What you think about and what manifests in your life experience is always a vibrational match, and, in the same way, what you think about and what manifests in your dream state is always a vibrational match. Your dominant thoughts always match your manifestations, and so, once you understand the absolute correlations between your thoughts, how you feel, and what is manifesting in your experience, you can then accurately predict everything that will come into your life.» — la voz extiende al sueño la correspondencia entre pensamiento y manifestación, y de ahí deriva la posibilidad de predecir lo que viene

«When you dream about something, it is always a match to the thoughts that you have been thinking. And so, since each of your dreams is, in fact, your creation, it is not possible for you to dream about anything that you have not created through your thoughts. The fact that it has now manifested in your dream state means that you have given it a significant amount of thought.» — la voz declara el sueño creación propia y niega que se pueda soñar algo no creado por el pensamiento de quien sueña

«The essence of the way you feel about the things you think about most will eventually manifest in your real-life experience— but it takes even less time and attention for it to manifest in your dream state. And for that reason, your dreams can be of immense value in helping you understand what you are in the process of creating in your awake state. If you are in the process of creating something that you do not want, it would be easier to change the direction of your thoughts before it manifests than waiting to change your thoughts after it manifests.» — y hace del sueño un aviso anticipado, porque manifestaría antes y con menos atención que la vida despierta

«The process for Evaluating Dreams is as follows: As you go to bed, consciously acknowledge that your dreams accurately reflect your thoughts. Say to yourself, It is my intention to rest well and to awaken refreshed. And if there is anything important for me to recall from my dream state, I will recall it when I awaken.» — lo que el libro prescribe al acostarse, con la fórmula que pone en boca del lector para recordar lo que importe

«Then, as you awaken, before you get up, lie there for a few minutes and ask yourself, Do I remember anything from my dream state? Although you may be able to recall different aspects of your dream state throughout the day, usually the best chance of recalling your dreams is when you first awaken. And as you begin to recall one of your dreams, relax and try to remember how you felt during the dream sequence, for recalling your emotions will give you even more important information than recalling the details of your dream.» — y lo que prescribe al despertar, con la emoción del sueño puesta por encima de sus detalles

«You must give significant attention to any subject for it to become powerful enough to manifest in your experience. And quite a bit of attention must also be given to a subject before it will begin to show up in your dream state. For that reason, your more meaningful dreams are always accompanied by strong emotion. The emotion may feel good or bad—but it will always be strong enough so that you will recognize the feeling.» — la voz explica por qué los sueños que cuentan van con emoción fuerte, sea del signo que sea

«If you have awakened from a very good-feeling dream, you can be confident that your dominant thoughts surrounding that subject are pointed toward manifestations that you do want. When you awaken from a bad-feeling dream, know that your dominant thoughts are in the process of attracting something that you do not want; however, no matter where you stand» — la regla de lectura del sueño según su signo; la frase se corta en el cambio de plana, donde queda la salida de cambiar de decisión

«It is truly more fulfilling to consciously create increasingly satisfying scenarios in your life experience than it is for you to create by default things that you really do not want—and then try to turn those around to things that you do want. For once something does manifest, then you have all that observing-of-the-unwanted-thing to deal with as well as the habit of thought that brought it about to begin with.» — la voz prefiere crear a propósito a corregir lo creado por omisión, porque lo segundo dejaría que lidiar con lo ya manifestado y con el hábito que lo trajo

«As soon as you begin to understand that your dreams are wonderful reflections of how you really feel and what you are creating, then you can begin to deliberately change your thoughts in order to positively affect your dreams. And as soon as you receive the positive dream, you will know that you are on the path of a more positive real-life manifestation.» — y hace del sueño bueno la señal de que la manifestación despierta va por buen camino

«If you awaken from a bad dream, do not worry; instead, feel appreciation for your awareness that you have been giving attention to something you do not want. In the same way you appreciate the sensors in your skin that alert you to the fact that you are approaching something that is very hot, appreciate that your emotions have made» — la voz pide agradecer el sueño malo y lo compara con los sensores de la piel ante lo caliente; la frase se corta en el cambio de plana

«Your recall of a dream is your physical translation of blocks of Non-Physical thought that you have interacted with in your dream state. When you sleep, you reemerge back into the Energy of the Non-Physical, and you have conversations (not conversations in words, but vibrational ones). Then, as you are awakening, you translate that block of thought back into its physical equivalent.» — la voz describe el sueño como conversación vibratoria en lo No Físico y el recuerdo como traducción de bloques de pensamiento, que es el mismo vocabulario con que describe su propio dictado

«Sometimes when you have wanted something for a long while but you do not see any way for it to really happen, you will experience a dream where it does happen. And then, in the pleasant recollection of the dream, you soften your vibration of resistance—and then your desire can be fulfilled.» — la voz atribuye al sueño el poder de ablandar la resistencia cuando no se ve cómo podría ocurrir lo deseado

«Many years ago, Jerry and Esther were mutually involved in a business enterprise, but they were not romantically involved. They felt appreciation for one another, but there was not a romantic feeling because neither of them would allow themselves to have that. Each of them, due to circumstances and beliefs, had not even tiptoed into that arena of thought relative to one another.» — el caso que la voz cuenta de los dos firmantes antes de casarse, contado en tercera persona dentro del propio dictado

«Esther had been thinking things like I want to live happily ever after. I want a partner who appreciates me. I want a joyful life experience. As Esther had been thinking those things, even though she was living the lack of much of it, her Inner Being, hearing her wanting, offered her something visual and sensual, something tangible enough so that she could not forget it—and something potent enough that it kept calling her. And as she flowed Energy toward it—oh, what a productive segment of time that was!» — la voz explica ese sueño como respuesta del Ser Interior de ella a lo que venía pidiendo, en imagen sensible y no en palabras

«you have any touchstones about in your own life . . . for instance, you may want to be well, but you have never been well; or you might want to be prosperous, but you have never been prosperous; or you want a loving mate, but you have never had a loving mate . . . talk to your Inner Being about what you want and why you want it. And let your Inner Being offer to you, in your dream state, images that you can flow Energy toward, which will cause your vibrational state to be as you want it to be. And then the Law of Attraction will bring it to you.» — lo que el libro prescribe para desear lo que nunca se ha vivido, hablarle al Ser Interior y pedirle imágenes de sueño hacia las que dirigir la energía; la frase arranca en la plana anterior

«Your dreams are manifestations of your vibrational point of attraction, so you can evaluate your dreams to determine what you are really doing with your vibration. Your dreams are sort of a sneak preview of that which is to come, so if you evaluate the content of your dream, you can often determine what your point of attraction is, and then if you do not wish to live out the dream you have been dreaming, you can do something about changing it.» — la voz llama adelanto de lo que viene al sueño y hace de su contenido una medida del punto de atracción

«As a result of what the influence surrounding you has been encouraging you to think, you may be flowing Energy toward financial disaster, you may be flowing Energy toward a body that will not function well, and so on. As such, your Inner Being, which is aware that you are projecting sickness into your future, may offer you a dream showing you where you are going. And so, you awaken and you say, Ah, I don’t want that! And then you say, What is it I do want? And why do I want it? And then you start flowing your Energy productively toward what you do want, transmuting your Energy and thereby changing your future experience.» — el cierre del proceso 7, con el sueño de enfermedad leído como aviso del Ser Interior y las dos preguntas que el libro pone en boca del lector al despertar

«One night, Esther dreamed that Jerry (she saw him clearly) kneeled by her bedside and kissed her on the cheek, very much like the fairy tales that she had heard as a child. And when he touched her on the face with his lips, an extraordinary feeling began surging through her —a feeling of exhilaration, a feeling that all was well, a feeling beyond description. It was a feeling that she had never experienced, asleep or otherwise.» — el sueño que el volumen da por origen del matrimonio de los dos firmantes, contado en tercera persona dentro del propio dictado

«And when she awakened, she could not stop thinking about that dream, and she could never again think of Jerry in the way she did before her dream. This dream left a feeling in her that she had not known before. It was so delicious that she tried to dream it again and again. And if she was not able to dream it, then she would just try to remember it. She wanted to recapture the feeling of that dream. And that vibration was the catalyst that brought them together.» — y el uso que ella dice haberle dado, repetir el sueño o su recuerdo para recuperar la sensación, que el volumen presenta como el catálisis del matrimonio

«When positive emotion floods through you in response to a positive thought you are focusing upon, and you wish to ride the positive, good-feeling wave longer • When you are aware that a subject that requires your consistent attention does not feel good, and you want to improve your vibration on that topic • When most subjects that you focus upon feel good to you, but there are a few uncomfortable holdouts that you want to mold into a better-feeling place» — los tres casos de uso del proceso 8, el Libro de los Aspectos Positivos, cuyo rango llega hasta la impaciencia

«To begin the process of the Book of Positive Aspects, purchase a notebook that feels good when you hold it in your hands. Choose a pleasing color, with a line width that matches your writing style, with paper that allows your favorite pen to glide along comfortably, and which opens comfortably and lies flat.» — lo que el libro prescribe para abrir el proceso 8, con el detalle material del cuaderno puesto como parte del ejercicio

«It would be beneficial to set aside at least 20 minutes for this process on your first day, but after that, you could continue in smaller increments of time. However, you may discover the benefits of this process to be so rewarding, and the good feelings within the process so satisfying, that you may want to spend even more time at it.» — el tiempo que el libro fija para este proceso, veinte minutos el primer día y tramos más cortos después

«Next, at the top of the first page of your notebook, write the name or a brief description of someone or something that you always feel good about. It could be the name of your lovable cat, your best friend, or the person you are in love with. It could be the name of your favorite city or restaurant. And as you focus upon the name or title that you have written, ask yourself these questions: What do I like about you? Why do I love you so much? What are your positive aspects?» — las tres preguntas que el libro manda hacerle a cada nombre escrito en el cuaderno, dirigidas a la cosa o persona en segunda persona

«Then, gently and easily, begin writing down the thoughts that come to you in response to your questions. Do not try to force these ideas, but let them flow easily through you onto your paper. Write as long as the thoughts flow, and then read what you have written and enjoy your own words.» — la instrucción de escribir sin forzar y releerse, que es el segundo tiempo del ejercicio

«The more positive aspects you search for, the more you are going to find; and the more positive aspects you find, the more you will search for more. In the process, you will activate within yourself a high vibration of Well-Being (which matches who you really are). And you will feel wonderful. And even better: This vibration will become so practiced that it will become your dominant vibration, and all aspects of your experience will now begin to reflect this higher vibration.» — la cadena acumulativa con que la voz explica el efecto del proceso, hasta hacer dominante la vibración practicada

«As soon as your notebook is filled, you will probably find yourself eager to purchase another and another, for there is a true power of focus in the experience of writing, and there is a true power of connecting to your own Source Energy in the experience of writing things that feel good when you write them.» — la voz atribuye al acto de escribir un poder de enfoque propio, que es lo que distingue este proceso de los mentales

«The benefits of this process will be many: You will feel wonderful during the process. Your point of attraction will continue to improve, no matter how good it is now. Your relationship with each subject that you write about will become richer and more satisfying—and the Law of Attraction will deliver even more wonderful people, places, experiences, and things for you to enjoy.» — los cuatro beneficios que la voz enumera para el proceso 8, del sentir durante el ejercicio a lo que dice que la ley traerá después

«Imagine a beautiful city. Not a big city, but a perfect city. The traffic flows nicely. There are beautiful points of interest. Living and working in this city is a wonderful experience. As you think about this city as we have described it to you, you may be thinking, I could live there happily ever after. Oh, but there’s one little thing we forgot to mention: There is a very deep pothole on Sixth Avenue.» — el símil de la ciudad perfecta con un bache, que es la figura con que este proceso explica el efecto de la atención selectiva

«Now, if you were to focus on the positive aspects of this city, it is our expectation that if you were to live in this city, you would live happily ever after. Most people have not been introduced to their life by someone who was pointing out the positive aspects of it; instead, most have been introduced more often by someone saying, Watch out for the pothole on Sixth Avenue! And so, because of the negative orientation that surrounds them, most are consumed by the pothole.» — y la moraleja del símil, que a la vida se entra casi siempre por la advertencia del bache y no por lo que funciona

«Let us say that someone has been declared terminally ill; her doctor has given her a death sentence. And yet, the majority of her body, over 99 percent of it, is as this magical city—it is functioning well. All the arteries of traffic are working very well. It is just that because of the attention the doctor has given it, she is now giving her full attention to the “pothole”—until it will eventually consume her city.» — la voz lleva el símil al diagnóstico terminal y cifra en más del noventa y nueve por ciento el cuerpo que dice que funciona bien; el proceso 21 desarrolla esa lectura de la enfermedad

«Sometimes, when first learning about Deliberate Creation, our physical friends will worry. They are afraid that every negative thought they think is going to reach out into the cosmos and bring some monster into their experience. We want to ease your fear by reminding you that you are living the balance of your thought, so it requires quite a bit of thought about something before it will manifest in your experience. But as a people who have lived in a society that is predominantly oriented toward criticism and to what is wrong, always wanting to face the facts, you have become those, even in your individual thoughts, who predominantly worry, rather than predominantly know that all is well.» — la voz calma el miedo a que cualquier pensamiento negativo traiga un monstruo, con el balance del pensamiento por medida, y atribuye a la sociedad la orientación hacia lo que está mal

«We want to encourage you to give more of your attention to what makes you feel good—not something so radical that you must control every thought—just make a decision that you will look for what you want to see. It is not a difficult decision to make, but it can make a big difference in what you bring into your experience.» — y acota lo que pide: no controlar cada pensamiento sino decidir qué se busca ver

«Something that is reality seems like it deserves your attention. “It’s true, after all, it’s true. Shouldn’t I document it? Shouldn’t I count it? Shouldn’t I make the statistics of it? Shouldn’t I tell others about it? Shouldn’t I warn my children about it?» — la objeción de que lo real merece atención, puesta por el volumen en cinco preguntas seguidas

«Shouldn’t we beat the drum of these things that we do not want, because they are reality, and therefore make them more reality? And, we ask, why would you do that? Why not look out into the database of creation and selectively sift the realities that you want to replicate, and beat those drums? And your answer is never a good enough one. It is: “We do it because it’s reality. We do it because somebody else did it.» — y la contestación de la voz, que llama insuficiente la razón de que algo sea real o de que otro lo haya hecho

«If we were standing in your physical shoes, we would not let the reality of something be our basis for attention; we would let the feeling-vibration of it be our basis. So we would start saying to anyone who was interested in knowing what we were about, “If it feels good, I give it my full attention; if it doesn’t, I don’t look at it at all.» — la voz cambia el criterio de atención de lo real a lo que sienta bien, y lo dice como lo que ella haría en el lugar del lector

«And you know what they’ll say to you? “You should face reality!” So answer back, “I do—I do it all the time. I’ve just become a more selective sifter of the reality that I face. Because I’ve begun to discover that whatever reality I’m facing; whatever reality I’m talking about, thinking about, remembering, regurgitating; whatever reality I’m making statistics of; whatever reality I’m holding for very long in my vibration, becomes my own reality.» — la réplica que el libro pone en boca del lector ante el reproche de no encarar la realidad, donde dice encararla como tamizador selectivo

«the realities that I replicate in my experience because I’ve discovered that I can create reality. I can create reality! I can create reality—and I can choose the reality that I’m creating.” Oh, we love saying that to you. You are creators, and you can create anything that you want, but there’s a better way of saying it: You can and will create anything that you are giving your attention to.» — el cierre de esa réplica y la enmienda de la voz, que cambia el poder crear por el crear inevitable de aquello a lo que se atiende; la frase arranca en la plana anterior

«Jerry and Esther had been giving workshops at a hotel in Austin, Texas, which seemed to regularly forget that they were coming. Even though contracts had been signed and Esther had called on the day of arrival to confirm, when they got there, the sweet girl behind the desk always acted surprised. And then there was always a scurry to get things ready for their workshop. Esther said to us, “Maybe we should find another hotel!” And we said, that is one way of going about it— but it is our expectation that wherever you go, you will take yourself with you, for you take your vibrational habits and patterns with you everywhere you go.» — el caso del hotel de Austin que olvidaba las reservas, con la respuesta de la voz a la idea de cambiar de hotel

«So we told them to buy a notebook, and across the front of it, in bold letters, write: My Book of Positive Aspects. And then turn to the first page and write: Positive Aspects of Southpark Hotel in Austin. So Esther began to write: “It is a beautiful facility. It is well situated, very easy access to the interstate, and easy to give directions to. The parking lot is adequate and convenient. Our room is always very clean. There are many sizes of rooms, so we can accommodate whatever size group will be attending. . . .» — y la aplicación del proceso 8 a ese caso, con lo que el volumen imprime como escrito por ella sobre el hotel

«to the positive aspects put her in such a mode of feeling good about this hotel that (it is our knowing) she cannot attract anything that is not good from that hotel. In other words, she took her attention—by virtue of her deliberate writing in this book—off of the pothole.» — el resultado que la voz le atribuye, que ella ya no podría atraer nada malo de ese hotel; el pasaje arranca detrás del corte de chunk que reemite la plana

«You can look at this in two different ways: If I do such and such, these good things will happen, or If I don’t do such and such, these bad things will happen. The first inspires you to action from a positive place. The second motivates you to action from a negative place.» — la distinción entre inspiración y motivación con que el proceso 8 cierra, según el signo del que se parta

«Your Book of Positive Aspects will put you more and more in the position of attracting—by virtue of your inspired positive feeling— whatever you desire.» — el cierre del proceso 8, que ata el ejercicio a la atracción por sentir positivo inspirado

«When you are feeling good and want to add specifics to what you are creating in your life experience • When you want the thrill of identifying and writing down things you would like to experience, and then seeing the Universe deliver to you the details you described • When you want to consciously experience the power of your specifically focused thought» — los tres casos de uso del proceso 9, el Guión, cuyo rango no llega al extremo alto de la escala sino que arranca en la pasión

«As Esther watched the movie, we said to her, “That is really the way it always works. As you focus clearly upon things you desire, and hold no contradictory vibration that causes resistance—whatever you desire must be. For when you ask, it is always given, every time, with no exceptions.» — la voz suscribe la premisa de la película y la hace regla, con la fórmula del título del volumen dentro de una cita de sí misma

«If something that you desire is not coming, it can only be that you are not allowing it to come because of the thoughts that you practice that are contrary to your own desire. Nothing else prohibits you from realizing every dream.» — y niega que exista otro obstáculo que los pensamientos contrarios al propio deseo

«So, this is how the Scripting Process works: Pretend that you are a writer and that whatever you write will be performed exactly as you write it. Your only job is to describe, in detail, everything, exactly as you want it to be.» — lo que el libro prescribe en el proceso 9, escribir la escena entera como se la quiere, con el fingir por instrucción expresa

«As you are having fun playing this game, and are not taking it too seriously, any of your hindering beliefs are less likely to be activated. In other words, by pretending that your typewriter, word processor, computer, or notebook is magical, and that whatever you write can be realized, you accomplish the two things that are necessary in the achievement of anything: You focus the lens of your desire, and you offer no resistance.» — la voz explica por qué el juego rinde: el tono de juego impediría activar las creencias que estorban, y así coinciden enfoque y ausencia de resistencia

«This process will help you be more specific about your desires, and, with that greater clarity about exactly what you do desire, you will feel the power of this specific focus. The longer you concentrate on a subject, and the more detail you give to it, the faster the Energy moves. And, with practice, you can actually feel the momentum of your desire; you can feel the Universal Forces converging. Often, you will be able to know when you are upon the brink of a breakthrough or a manifestation just by virtue of the way you feel.» — y ata el detalle del guión a la velocidad de la energía, con la sensación de estar al borde de una manifestación como señal

«You are the vibrational writers of the script of your life—and everyone else in the Universe is playing the part that you have assigned to them. You can literally script any life that you desire, and the Universe will deliver to you the people, places, and events just as you decide them to be. For you are the creator of your own experience—you have only to decide it and» — la afirmación más fuerte del proceso 9, que los demás representan el papel que uno les asignó; la frase se corta en el cambio de plana

«Scripting is one of those processes that we offer to assist you in telling the Universe the way you want it to be. If you are already in vibrational harmony with your desire, you know it, because your desire is already a physical reality. But if there is something that you want that has not yet come to fruition, then Scripting is a good way to speed it up. Scripting will help you break your habit of talking about things as they are, and will help you begin talking about how you would like things to be. Scripting will help you offer your vibration deliberately.» — la voz sitúa el proceso 9 como manera de dejar de hablar de las cosas como están y empezar a hablarlas como se las quiere

«We would begin by identifying ourselves as the central character, then we would identify the other main characters in the scenario, and then we would write the plot. (It is most effective if you write it, especially in the beginning, because writing is your most powerful point of focus. But you do not have to keep writing it over and over again.» — el orden que el libro prescribe para el guión, con el paréntesis que declara la escritura el enfoque más poderoso y a la vez la exime de repetirse

«One day a woman was practicing one of her scripts with us, and she said, “I see two people walking down the beach.” We teased her by asking, “Well, are you one of them?” The point we were making was that the whole point of writing the script is to begin to feel life experiences in the way you would like to live them.» — la corrección que la voz hace a quien escribe su guión en tercera persona, porque el punto sería sentir la vida propia y no mirarla

«If you regurgitate your script often enough, you begin to accept it as reality, and when you are accepting it in the way you accept reality—the Universe believes it and responds in the same way.» — el cierre del proceso 9, donde la repetición del guión lo hace aceptable como realidad y el universo, dice la voz, lo trata igual

«When you want to more effectively utilize your Universal Manager • When you want to create your own reality more through the flowing of Energy • When you want to create your own reality less through the offering of your own action • When you feel you have too much to do • When you want more time to do more things that bring you pleasure» — los cinco casos de uso del proceso 10, el del Mantel, que es el único que nombra el exceso de cosas por hacer

«As Jerry and Esther’s life evolved, and as their ideas and projects expanded, Esther began carrying a notebook that contained her list of things she needed to do. The list had evolved to several pages, and was comically called “Things to Do Today.” Well, ten people could not have accomplished this list in only one day.» — el caso de la lista de pendientes con que el volumen introduce el proceso 10, contado por la voz en tercera persona

«Because of her desire to be of value, and because of her willing nature, she had created a huge sense of responsibility, and her feeling of freedom was being crushed by the weight of it.» — y el diagnóstico que la voz hace de ese caso, un sentido de responsabilidad que aplasta el sentir de libertad; la frase arranca en la plana anterior

«Take this large paper place mat, we explained, and we will guide you. Draw a line down the center of your place mat, and as a heading on the left side of the line, write: Things I Will Do Today. As a heading on the right side of the line, write: Things I Would Like the Universe to Do.» — lo que el libro prescribe para abrir el proceso 10, un mantel partido en dos columnas con esos dos encabezados

«Now, looking over your long Things to Do Today list, select only those things that you absolutely intend to do this day. Things you feel you must do. Things you really want to do. Select only those things that, no matter what, you intend to do today, and enter them on the left side of your Place Mat beneath the heading: Things I Will Do Today. And now, enter all other tasks on the Universe’s side of your place mat.» — el criterio de reparto entre las dos columnas, donde a la izquierda va solo lo que uno hoy de veras hará

«We explained to Esther that in order to achieve anything, she has only two things to accomplish: She must identify her object of desire, and then she must get out of the way of letting it happen. In other words, ask, and then find a way of achieving a vibration that allows it —because it is always given, whenever you ask.» — la voz reduce el logro a dos cosas, identificar lo deseado y quitarse de en medio, que es lo que el ejercicio del mantel escenifica

«People she had been unable to reach by telephone called her. Employees on her staff felt inspired to assist in some way, and they would accomplish something that was on Esther’s list and then report it to her after it was done, without Esther’s attention or request. Time seemed to stretch to allow more to be accomplished, and her timing with people and places and traffic improved dramatically.» — y el detalle de ese resultado, llamadas, ayuda no pedida y tiempo que parecía estirarse; la frase arranca en la plana anterior

«The Place Mat Process caused Esther to focus her desires more specifically and, for the first time, to release her resistance regarding the same. For when you ask, it is always given—but you do have to let it in.» — la voz cifra el efecto del proceso en enfocar y soltar la resistencia a la vez, y remata con la fórmula del título y su tercer paso

«As they left a restaurant one day, Jerry said, “Do you want to take that place mat with you?” And Esther replied, “This is the best part, there’s no follow-up.” She left the list on the table; she left it there for the Universe to deal with. There is no follow-up, you see, not anything for her to drag around and hound herself about.» — la parte del ejercicio que el volumen señala como mejor, dejar el mantel en la mesa: no hay seguimiento ni nada que arrastrar

«In the moment that you say “I prefer” or “I like” or “I appreciate” or “I want,” the heavens part for you, and the Non-Physical Energies, in that instant, begin orchestrating the manifestation of your desire. In that instant! Faster than you can speak it, the Energy begins to flow,» — la voz data en el instante mismo de la preferencia el comienzo de la orquestación; la frase se corta en el cambio de plana

«and circumstances and events, in an orchestration that we cannot begin to describe, begin to fall into place in order to give you exactly what you want. And if it were not for your resistance, things would happen really fast.» — y adjudica a la resistencia, y solo a ella, la lentitud con que eso llega; la frase arranca en la plana anterior

«Esther turned on the television one evening and found herself immediately captivated by a movie that was well under way by the time she found it. In this movie, a seemingly unsuccessful scriptwriter was just discovering that his typewriter seemed to be magical. Each day, after he had described the scenes and written the words that the actors would speak, these same things would then come to pass in his own experience. And so, if a situation was not going the way he wanted it to, he went to his typewriter and wrote an improved» — la película del guionista con la máquina de escribir mágica, que el volumen toma por figura del proceso 9; el caso lo cuenta la voz en tercera persona sobre quien la traduce, y la frase se corta en el cambio de plana

«If you play the game often, and enjoy it when you play it, you will begin to see amazing evidence of the power of the game. Things that you have written will begin to occur in your experience as if you are directing a play upon a stage. And when someone you are interacting with says words to you that you have scripted, you will be delighted as you recognize the power of your own intent.» — la voz anuncia que las palabras escritas serán dichas por otros, y ofrece ese reconocimiento como la señal de que el proceso opera

«What Esther experienced in the next few days left her feeling amazed. Not only was she able to easily accomplish her own short and manageable list, but the items on the Universe’s side of the place mat» — el resultado que el volumen atribuye al ejercicio en ese caso; la frase se corta en el cambio de plana, donde añade que todo eso ocurrió sin acción de ella

«Esther has always been a big maker of lists. She often has about ten days’ work on her Things to Do Today list. And very often the list has served as an excuse to become overwhelmed. In other words, with so many things to do that she cannot possibly accomplish, the Things to Do Today list has sort of dragged her down.» — la voz describe el hábito de las listas largas como excusa para el agobio

«But what she is discovering now is that she only puts on her list what she really intends to do. And in that way, there is very little resistance, even with respect to the things she is going to do. And anything else that she wants to do, whether it is today, a year from today, or ten years from today, she writes on the right side of the list—and allows the Universe to deal with it.» — y el cambio que el proceso introduce, la lista reducida a lo que de veras se hará y todo lo demás sin plazo en la otra columna

«You do not have to keep telling the Universe what you want; you only have to tell the Universe once. But the advantage of continuing to talk about it is that you get clearer about it. Usually you cannot clearly articulate everything you want with your first statement, so the more you talk about it, the more you fine-tune it.» — la voz declara innecesario repetir el pedido y deja al repetirlo una sola utilidad, afinarlo

«But as you say “I want it,” the Universe begins manifesting it, and then when you say, “I would like it to be this way,” the Universe modifies that. You say, “And a little bit of this would be nice,” and the Universe . . . you see what we are getting at? And once you are clear about what you want; once you have zeroed in on it and you know what you want—it is on its way to you. It is done. The manifestation of it will probably follow later, however, because most often, there is enough resistance that you will not receive it instantly.» — el cierre del proceso 10, donde el pedido se va modificando sobre la marcha y la demora vuelve a quedar puesta en la resistencia

«When you want your influence to dominate during a particular segment of your day • When you recognize the potential of something not going quite right, and you want to make sure it goes the way you want • When time or money is especially important to you, and you want to make the most of it» — los tres casos de uso del proceso 11, la Intención por Tramos, con la palabra influencia en el primero

«It is easier to begin with a fresh, less powerful thought, and then focus upon it and cause it to expand, than to try to change an already expanded powerful thought. In other words, it is easier to create an improved future experience than it is to change a current existing experience.» — la regla que funda este proceso: sería más fácil crear una experiencia futura que cambiar una en curso

«If you are experiencing a physical condition that has your attention, you are, through your attention to your current condition, projecting it on into your future experience. But, by focusing on a different future experience, you are now activating that different experience, and as» — la voz aplica esa regla a una condición física presente, que se proyectaría al futuro por atenderla; la frase se corta en el cambio de plana

«That is the power of the process of Segment Intending. It is the process whereby you define the vibrational characteristics of the time segment you are moving into. It is a way of pre-paving your vibrational path, so to speak, for easier and more enjoyable travel.» — la voz define el proceso 11 como fijar de antemano las características vibratorias del tramo en que se entra, y lo llama empedrar el camino

«If you are in a bad mood, meaning that there is considerable resistance in your vibrational frequency, then, because you do not have access to very different thoughts from where you currently are, you usually project that same vibrational expectation into the segment that you are moving into. For that reason, we encourage the application of Segment Intending when you are already feeling good. If you are feeling bad in this moment, try one of the other processes in order to improve your current mood and point of attraction. And then once you are feeling better, you could return to this powerful Segment Intending process.» — la acotación que ordena el uso de este proceso: desde el mal humor se proyectaría el mismo mal humor, así que conviene aplicarlo ya estando bien

«You enter a new segment anytime your intentions change: If you are washing dishes and the telephone rings, you enter a new segment.» — la definición de tramo por cambio de intención, con tres ejemplos domésticos que el libro imprime

«If you will take the time to get your thought of expectation started even before you are inside your new segment, you will be able to set the tone of the segment more specifically than if you walk into the segment and begin to observe it as it already is.» — la instrucción central del proceso, fijar la expectativa antes de entrar al tramo y no después de mirarlo

«The telephone rings. (You enter into a new segment.) You set forth the intention not to answer the telephone. You set forth the intention that your answering device can take the call, and you set forth the intention that you will return the call later when you have time. So, the rhythm and flow of your meal preparation is not disrupted; your segment changed slightly, but you maintained your balance, and all is well.» — el primero de los dos ejemplos del teléfono, donde la intención consiste en no contestar y dejar el ritmo intacto

«You are actually pre-paving your future experiences constantly without even knowing you are doing so. You are continually projecting your expectations into your future experiences, and this Segment Intending process helps you to consciously consider what you are projecting—and it gives you control of your future segments.» — la voz declara que el empedrado previo ocurre de todos modos y sitúa el proceso como el modo de hacerlo a sabiendas

«If the new segment includes something that you have never enjoyed doing, Segment Intending is not the best process to apply. Of course, it is better than no deliberate intention at all, but when you have an opportunity, it would be of value to apply one of the more heavy-duty processes (Processes #13 to #22) to this subject.» — la voz desaconseja este proceso para lo que nunca ha gustado y remite a los procesos del 13 al 22, con lo que ordena la serie por peso

«For example, you are going to visit your mother-in-law, who, you believe, has never liked you, or you are on your way to work in a twoperson office with someone who annoys you in many ways. . . . Whenever you are setting forth your intentions about how you want to feel and how you would like the segment to unfold, it is always beneficial if, when you find yourself struggling for a positive scenario, that you do not continue the process. Change the subject in your own mind; think about something pleasant, and apply another process later.» — los dos ejemplos de tramo difícil que el libro da, la suegra y el compañero de oficina, y la instrucción de abandonar el ejercicio si cuesta trabajo hallar la escena; el troceo parte *two-person* por el guion de fin de renglón y span lo devuelve unido.

«You are living in a wonderful physical time. You are living in a highly technological society where you have access to stimulation of thought from all around your world. You benefit from all this, for it provides you an opportunity for much growth, but you also experience some disadvantages from the stimulation of thought— and the disadvantage comes forth in the form of confusion. For while your ability to focus upon a more narrow subject brings forth clarity, your ability to focus upon many things at once brings confusion.» — la voz concede la ventaja del ambiente de información y le opone su desventaja, la confusión por atender a muchas cosas a la vez

«Most of you are so distracted by so much thought that you do not have an opportunity to develop any one thought to any great degree.» — y adjudica a esa distracción que casi nadie lleve un solo pensamiento muy lejos; la frase arranca en la plana anterior

«Here is the key to your Deliberate Creation: See yourself as a magnet, attracting unto you the way you feel at any point in time. When you feel clear and in control, you will attract circumstances of clarity. When you feel happy, you will attract circumstances of happiness. When you feel healthy, you will attract circumstances of health. When you feel prosperous, you will attract circumstances of prosperity. When you feel loved, you will attract circumstances of love. The way you feel is actually your point of attraction.» — la fórmula con que este proceso resume el volumen entero, con cinco pares de sentir y circunstancia y el sentir puesto por punto de atracción

«And so, the value of the Segment Intending Process is to encourage you to pause many times during the day to say, “This is what I want from this period of my life experience. I want it and I expect it.” And as you set forth those powerful words, you become what we call a Selective Sifter. You attract into your experience what you want.» — lo que el libro prescribe decirse al entrar en cada tramo, y el nombre que da a quien lo hace, tamizador selectivo

«If you want many things all at the same time, it adds confusion. But when you only focus upon the specifics of what you want in any particular moment, you bring clarity and power to your creation—and therefore, speed. And that is the point of Segment Intending: to stop, as you are entering a new segment, and to identify what it is you most want so that you may give your attention to (and therefore draw, power unto) that.» — la razón de partir el día en tramos, dicha por la voz: el foco estrecho daría claridad, poder y velocidad donde el ancho da confusión

«We would like to guide you through an example of a day where you may be deliberately intending as you are recognizing that you are moving into new segments. Let us say that you have decided to apply this process before going to bed at the end of the day, and you recognize that entering into the sleep state will be a new segment of life experience. And so, as you are lying there on the pillow, getting ready to sleep, set forth the intent of a restful slumber. Set forth the intention of refreshing your physical apparatus, and imagine yourself awakening the next day feeling refreshed.» — el primer tramo del día de muestra, el del sueño, con la intención fijada antes de dormir

«As you open your eyes in the morning, recognize that you have now entered into a new segment of life experience, and that from the time you remain in bed until the time you remove yourself from it is a segment. Set forth your intent for that time: “While I’m lying here, I’m intending to have a clear picture of this day. I’m intending to become exhilarated and excited about this day.” And then, as you are lying there, you will begin to feel that refreshment and exuberance about the upcoming day.» — el segundo tramo, el de seguir en la cama al despertar, con la fórmula que el libro pone en boca del lector

«As you get out of bed, you have now entered into a new segment of life experience. This may be the segment that you are preparing yourself for that day. And so, as you are brushing your teeth or taking your bath or doing whatever it is you do in this segment, let your intent be to do it efficiently, to enjoy yourself, to have it be an uplifting time that prepares you for the day.» — el tercer tramo, el del aseo, donde la intención se fija sobre la eficiencia y el disfrute de un acto corriente

«As you are preparing breakfast, let your intent be to do it efficiently, and to select that which is most nutritiously balanced for your» — el cuarto tramo, el del desayuno; la frase se corta en el corte de chunk que reemite la plana

«you set forth this intention, you will notice that as you are eating, you are feeling more rejuvenated, more replenished, and more refreshed. And you will enjoy the food more than if you had not set forth that intent to do so.» — el resultado que el libro atribuye a ese tramo, comer con más gusto por haber fijado la intención; el pasaje arranca detrás del corte de chunk

«As the telephone rings, recognize that you are now about to enter a new segment. And as you pick up the phone, identify who it is, and then clearly set forth your intent before you begin speaking. As you get into your vehicle, or as you are» — los tramos del teléfono y del traslado, con la intención fijada antes de hablar y antes de conducir; la frase se corta en el cambio de plana

«Of course, your segments will not be just as we have offered. And they will not be the same from day to day. In the beginning, you will find that you are not so quick to identify your segments as you will be after you have done it for a while. For some, you may find it more efficient and effective to carry a small notebook and physically stop and identify the segment while you write a list of your intentions in your notebook, for as you are writing, you will find yourself at your strongest point of clarity and at your strongest point of focus. And so, in the beginning of this deliberate Segment Intending, youmay find the notebook a very great and valuable asset.» — la voz acota que los tramos de cada quien serán otros y recomienda un cuaderno al principio, porque escribir daría el mayor enfoque; el troceo imprime youmay pegado

«As you are moving through such a day, you will feel the power and the momentum of your intentions building; you will find yourself feeling gloriously invincible; you will feel as if there is nothing that you cannot be, do, or have as you are seeing yourself again and again in creative control of your own life experience.» — el cierre del proceso 11, con el impulso acumulado de las intenciones del día y la fórmula que el volumen repite de cabo a rabo

«Or, the telephone rings. (You enter a new segment.) You remember that you have been expecting an important call, and you do not want to miss it. You set your intentions for the segment to be efficient and brief, and to gather the information quickly and politely. And because» — el segundo ejemplo del teléfono, donde la intención se fija antes de descolgar; la frase se corta en el cambio de plana

«Not only will you find that you are more productive, but you will find that you are happier, for as you are deliberately intending, and» — la voz ata el contento al avance; la frase se corta en el cambio de plana, donde declara a sus lectores buscadores de crecimiento

«When you get out of your vehicle, you have now entered into another new segment. And so, pause for a moment and imagine yourself walking from where you are to where you are intending to go, seeing yourself feeling good as you walk, intending that you will move efficiently and safely from point to point, intending to feel the vitality of your apparatus, intending to feel the clarity of your thinking mechanism» — el último tramo del día de muestra, con la caminata imaginada de antemano hasta el sitio adonde se va

«Imagine greeting the secretary, the employees, or the employer. Imagine seeing yourself as one who uplifts others, having a smile ready, recognizing that everyone you meet is not deliberate in their intending, but knowing that by your deliberate intending, you will be in control of your life experience, and you will not be swept up by their confusion, their intent, or their influence.» — y la llegada al trabajo, donde el libro prescribe imaginarse uno levantando el ánimo ajeno y no dejándose arrastrar por la confusión de otros

«When you find yourself leaning toward the negative, and therefore offering resistance, and you want to turn it around to something more positive • When you are already feeling good, and you want to focus more specifically on certain areas of your life to make them even better • When you want to gently guide a negative, or potentially negative, conversation to a more positive place for your benefit or to gently guide someone else» — los tres casos de uso del proceso 12, el que el libro titula con una pregunta, y que incluye conducir una conversación ajena

«When you say, “I want this thing to happen that hasn’t happened yet,” you are not only activating the vibration of your desire, but you are also activating a vibration of the absence of your desire—so nothing changes for you. And often, even when you do not speak the second part of the sentence and you say only, “I want this to happen,” there is an unspoken vibration within you that continues to hold you» — la voz explica por qué el enunciado del deseo activa también su ausencia, incluso cuando la ausencia no se dice; la frase se corta en el cambio de plana

«But when you say, “Wouldn’t it be nice if this desire would come to me?” you achieve a different sort of expectation that is much less resistant in nature.» — la enmienda que el proceso 12 propone, pasar de la afirmación del deseo a la pregunta, que la voz declara menos resistente

«Your question to yourself naturally elicits from you a more positive, expectant response. And so, this simple but powerful game will cause a raising of your vibration and an improvement in your point of attraction because it naturally orients you toward the things that you want. The Wouldn’t It Be Nice If . . . ? Process will help you let in the things that you have been asking for, on all subjects.» — la razón que la voz da del efecto: la pregunta arrancaría de uno una respuesta expectante en vez de un cotejo con lo que hay

«Wouldn’t it be nice if we had the best time we have ever had with these friends? Wouldn’t it be nice if the traffic is light and we have a wonderful trip? Wouldn’t it be nice if I had a really productive day at work?» — las tres fórmulas cotidianas que el libro da de muestra del proceso 12, todas en forma de pregunta

«Wouldn’t it be nice if I find the most spectacular partner who adores me in the same way that I adore him? Wouldn’t it be nice if I find someone, and we waltz off into the sunset together? Wouldn’t it be nice if there’s somebody out there who’s looking for somebody just like me?» — la muestra del proceso aplicada a la pareja, donde el libro pone tres formulaciones de distinto alcance

«The reason the Wouldn’t It Be Nice If . . . ? game is so important and so powerful is because when you say “Wouldn’t it be nice if . . . ?” you are choosing something that you want, and you’re being soft and easy about it. In other words, it is not the end of the world. It is a much softer vibration.» — la voz cifra el efecto del proceso en la suavidad: al preguntar, lo deseado deja de ser cosa de vida o muerte

«For example, let us say you want to reduce your body weight. Here is a Wouldn’t It Be Nice If . . . ? example for you: Wouldn’t it be nice if I stumbled onto something that really worked for me? Wouldn’t it be nice if my metabolism began to cooperate with me a little more? Wouldn’t it be nice if the desires that I’ve been holding for a long time sort of came to a peak, like a guiding light?» — el ejemplo del peso corporal, donde el libro aplica el proceso a una materia que trata largamente en el proceso 21

«Your logic would tell you, “Hey, I’ve been at this for a long time. If I knew how to do it, or if I was good at it, I’d have already gotten it done.” So you are contradicting your own desire. And so, you would hold yourself in that vibration. However, when you are playing Wouldn’t It Be Nice If . . . ?, much of that vibration is diffused.» — la voz cita la objeción de la propia lógica, que el largo intento fallido probaría incapacidad, y la da por disuelta en la forma interrogativa

«Wouldn’t it be nice if my physical body came into alignment with my dream? Wouldn’t it be nice if I discovered this to be much easier than it’s ever been before? Wouldn’t it be nice if I came into Energy alignment, and everything around me came into vibrational harmony with that? Wouldn’t it be nice if the cells of my body cooperate with the mental picture that I’m holding? Wouldn’t it be nice if I could feel ease about my body? Wouldn’t it be nice if my physical body began responding differently to food? Wouldn’t it be nice if I began feeling a greater inspiration to exercise?» — la primera mitad de la tanda de preguntas sobre el cuerpo, donde el libro baja el ejercicio hasta el nivel celular

«Wouldn’t it be nice if the food-burning characteristics of my body kicked into high gear, and this process turned into an easy, almost effortless scenario? Wouldn’t it be nice if my ideas about food came into alignment so that I find myself taking such pleasure from foods that are really in vibrational harmony with what my body wants and needs?» — y la segunda, donde la comida se plantea como alineación de ideas y no como régimen

«By softly playing this game, what happens is that you hold yourself in this place of alignment. The other thing you could do is get off that subject altogether and never think about it again. But that is a difficult thing to do, because your body sort of goes everywhere you go. In other words, it is hard to get that off your mind. So, since it is hard to get it off your mind, you almost have to force yourself to choose» — la voz descarta la otra salida, dejar de pensar en el asunto, porque el cuerpo va a todas partes con uno; la frase se corta en el cambio de plana

«One more thing: Do not expect instant results. Know that it is coming into being in its perfect time. In other words, you have been encouraging, through your thought and behavior, a cellular community, a large part of which you are about to extinguish. And so, there is some cellular cooperation that is going to take place, and all cells are willing to cooperate. They are not sacrificing; they are not holding little cellular funerals in advance. There is no mourning going on, as in, “Ah, she’s going to kill 25 percent of us.» — la voz desaconseja esperar resultados inmediatos y describe a las células como comunidad que coopera, con una broma sobre funerales celulares

«What is happening is that there is a sort of collective alignment. Your cells are getting ready, you see. And in that preparation and in that readiness, all kinds of things are beginning to come into alignment; things that you could not orchestrate even if you tried. Your body knows what to do. Your body has come into active agreement and alignment with all of this.» — y adjudica al cuerpo un saber propio que ordenaría lo que uno no podría orquestar

«So, as you play the gentle Wouldn’t It Be Nice If . . . ? game, leave the rest of your physical apparatus to the cellular knowing, which means that it is not your job to be the food police, it is not your job to be the exercise police, any more than it is your job to decide what cell has to go.» — lo que el libro prescribe en este proceso frente al régimen y al ejercicio: no ser policía de la comida ni del ejercicio y dejar el resto al saber celular

«Whatever the subject of your desire, there is an orchestration that is being taken care of in response to the Wouldn’t It Be Nice If . . . ? game that you are playing. So whenever you play this game and you trust that everything else will come into alignment—it will.» — el cierre del proceso 12, con la confianza en que lo demás se alinea puesta como parte del propio ejercicio

«When you want to be consciously aware of how you really feel about something right now • When you are faced with a decision, and you want to go in the best direction possible • When you want to determine your current Emotional Set-Point • When you want to become consciously aware of your Emotional Guidance System» — los cuatro casos de uso del proceso 13, cuyo rango baja ya hasta el enojo

«Some believe that they’re focused upon the subject of a healthy body, when instead, they’re focused on the fear of a sick body. Some believe that they’re thinking about improving their financial situation,» — la voz da dos ejemplos de atención mal leída, la salud y el dinero, donde se cree pensar en lo querido y se piensa en su falta; la frase se corta en el cambio de plana

«The Which Thought Feels Better? Process will help you consciously identify the vibrational frequency of your current thought. The game is most effectively played when you are alone because no one else can really know or understand which thoughts feel best to you. Often, when you are interacting with others, you may be confused about whether the thought actually feels better to you, or whether you are offering it because you think it is the choice someone else would want you to make.» — la voz pide hacer este proceso a solas, porque en compañía se confundiría el pensamiento que sienta mejor con el que se cree que otro aprobaría

«It is important to leave everyone else’s ideas, desires, opinions, and beliefs aside while you identify, for yourself, how you feel.» — y lo remata dejando fuera del ejercicio toda idea y creencia ajena

«This game is especially helpful when something has occurred in your own experience that causes a noticeable amount of negative emotion. Understanding that negative emotion is an indicator of resistance, and further understanding that this resistance is the only thing that holds you apart from the things you really want, you may have decided to do something about releasing some resistance on this newly energized subject.» — la voz sitúa el momento de usar este proceso, cuando algo acaba de provocar emoción negativa notable

«This process works best if you can sit for a few minutes and write your thoughts on paper. In time, when you have played the game» — la voz prefiere el papel a la cabeza para este proceso, por el enfoque que da escribir; la frase se corta en el cambio de plana

«To begin: First, write a brief statement of how you feel about the subject right now. You could describe what has happened, but what is most important is that you describe how you feel.» — lo que el libro prescribe como primer paso del proceso 13, describir el propio sentir antes que los hechos

«Next, write another statement that amplifies exactly how you feel. This helps you more easily recognize any improvement as you move through the process.» — el segundo paso, amplificar el mal sentir de entrada para que la mejora se note después

«For example, you have just had an argument with your daughter because she makes no effort to help around the house. She does not even take care of her personal things, and her own room is a terrible mess. She seems to hold no regard for the effort you are making to maintain an orderly environment. Not only does she not try to help, but it seems that she deliberately tries to hinder you. So you write: She [or write your daughter’s name] is deliberately trying to make my life difficult. She doesn’t care about me at all. She doesn’t even come close to doing her share of the work.» — el caso de la hija desordenada con que el libro ilustra el proceso 13, con las tres frases de arranque que pone en boca del lector

«Once you have made a few statements that indicate how you really feel right now, make this statement to yourself: I’m going to reach for some thoughts about this subject that feel a little better. Now, once you have written each thought, evaluate whether it feels better, the same, or worse than when you initially began.» — el tercer paso, ir escribiendo pensamientos y calificar cada uno por el alivio que dé frente al punto de partida

«It’s all right that I want my house to be clean. (better) It’s fine that she doesn’t care about that now. (better) Remember, there are no right and wrong answers here, and no one else can really know which of your thoughts bring better or worse feelings to you. The value of this process is that you will become aware of how your thoughts feel—and you will become more adept at choosing better-feeling thoughts.» — el cierre del ejemplo y la acotación de la voz: no habría respuestas correctas y nadie de fuera podría calificar los pensamientos de otro

«Many would ask, “But what good would it be to feel better about my daughter’s sloppy habits? My thoughts won’t change her behavior.” We want to say to you that your thoughts change the behavior of everyone and everything who has anything to do with you. For your» — la objeción de que el pensamiento propio no cambia la conducta ajena, contestada por la voz con lo contrario; la frase se corta en el cambio de plana

«A good way to approach all this is: If the desire feels good to you, everything is going great. If the desire is uncomfortable, it means that you have a desire that is raging out there ahead of your belief, but then you can soothe that by saying, “We don’t have to do it right this red-hot minute. We’ll just hold this as a future idea. We’re not going to shut the idea down because we know it’s a good one. It’s not a perfect match for where we are right now, but someday that will be a part of it. For now, this is quite satisfying.» — la voz da el criterio con que leer un deseo incómodo, que el deseo va por delante de la creencia, y la fórmula con que prescribe aplazarlo sin apagarlo

«Jerry and Esther go through this all the time because Esther wants everything, and she wants it right now. And there is no earthly reason why she should not have it right now—except that she is married to a savorer. He is not afraid that he will run out of money; he is afraid that he will run out of ideas. In other words, he does not want to eat up the ideas too fast. He wants to milk each one for everything he can get out of it. And Esther just wants to skip across the top. Esther eats the point of the pie first, while Jerry saves it till the last bite. But Esther worries that by the time she gets to the last bite, she will not want it anymore—so she eats it first.» — el caso de los dos firmantes con el gusto y el aplazamiento, contado por la voz en tercera persona y con el símil del pedazo de pastel

«So, both Esther and Jerry find their own way. There is no right or wrong formula there. We would say to Jerry that he will never run out of ideas, so he can skip across the top of them if he wants. And then he would say to us, “But I love getting my doing into the evolvement of it; the more intimately involved I am in my creations, the more satisfaction I’m receiving from them.” So we say, Then that is the right way for you. There is no right or wrong in this. Which feels better?» — la voz niega fórmula correcta entre los dos modos y deja el criterio en cuál sienta mejor a cada quien

«Which thought feels better? To go into debt or to wait until later? To wait until later. Which thought feels better? To say that you have settled for less, or to say that this is part of your future experience? To say that this is part of my future experience. Which thought feels better? To be mad at yourself that your kitchen is not as modern as it can be, or to acknowledge that it is a perfect kitchen for now, and that it will» — la tanda de pares con que el proceso cierra, sobre la deuda, el conformarse y la cocina; la frase se corta en el corte de chunk que reemite la plana

«always be growing—just like you will always be growing? Which thought feels better?» — el cierre del proceso 13, con los dos últimos pares, apreciar o condenar y aplaudirse o reprocharse; la frase arranca en la plana anterior

«But because the subject is money or health, they believe that anytime they are focused upon the subject, they are thinking about what they want. And often that is not the case. Often people say, “I’ve wanted this for as long as I can remember. Why hasn’t it happened yet?” Because they were not aware that every subject is really two subjects: what is wanted and the lack of it . . .» — la voz explica el error de lectura por la materia: el asunto sería el mismo y la dirección opuesta

«For example, they thought that because they were talking about money, they were talking about what they wanted, when instead, they were focused on the opposite of what they wanted. Only when you are sensitive to the way you feel do you really know what your vibrational content is. But with some practice, you will become very adept at always knowing exactly where you are focused.» — y deja al sentir, y no al tema, la tarea de decir en qué dirección se está enfocando

«She never listens to me. (same) I want her to be more responsible. (same) I shouldn’t have to pick up after her. (same) I should have taught her better. (worse) I wish her father would support me more. (worse) A clean house is important to me. (slightly better) I know she has a lot on her mind. (better) I remember what it’s like to be a teenager. (better) I remember when she was a sweet little girl. (better) I wish she were still that sweet little girl. (worse) I don’t know what to do about this. (worse)» — la primera mitad de la tanda de pensamientos con su calificación entre paréntesis, donde el libro deja ver que la escala sube y baja y no avanza en línea

«Well, I don’t have to figure it all out today. (better) There are so many things about her that I adore. (better) I know there is more to life than a clean house. (better) It should be okay that I want a clean house. (worse)» — y la segunda, donde incluso una frase de aprobación propia queda calificada de peor por el modo en que está dicha

«When you are feeling stress due to your disorganization • When you feel you are spending too much time looking for items • When you find yourself avoiding your home because you feel better elsewhere • When you feel that there is not enough time to do all you need to do» — los cuatro casos de uso del proceso 14, el de despejar el desorden, todos ligados al ambiente material

«A cluttered environment can cause a cluttered point of attraction. If you are surrounded by unfinished work, unanswered letters, incomplete projects, unpaid bills, unattended-to tasks; unsorted piles of paperwork; and stray magazines, catalogs, and all manner of miscellaneous items—they can negatively affect your life experience. Because everything carries its own vibration, and because you develop a vibrational relationship with everything in your life, your personal belongings do have an impact on the way you feel and on your point of attraction.» — la premisa del proceso 14: cada cosa llevaría su vibración y con ella se tendría una relación vibratoria que pesa

«There are two major hindrances to clearing away clutter: First, you may remember throwing something away, only to discover, soon after, that you really did need it after all. So now you are reluctant to throw anything away. And second, you realize that to really do a good job of getting organized would take far more time than you have to give to the project, for every time you have ever attempted to get organized, you have become bogged down in the sorting process and have ended up leaving an even bigger mess than when you began.» — los dos estorbos que la voz reconoce al ordenar, el miedo a tirar lo que luego hará falta y el tiempo que lleva clasificar

«To begin the process: Obtain several sturdy cardboard boxes with lids. (Banker’s boxes work well for this.) It is best if they are the same size and color. That way they will stack neatly and look attractive. We would suggest that you begin with a minimum of 20 boxes, but you may want to obtain more as you discover the productive power of this process. (Also, procure a package of alphabetized index cards and a handheld voice recorder.» — el material que el libro prescribe para el proceso 14, con la cifra mínima de cajas y el fichero alfabético

«First, assemble the boxes and put five or six of them in the middle of the room that you wish to organize. Next, number each box with its own unique number, from 1 to 20, and so on. Now, look around the room, focus upon an item, and ask yourself, “Is this item important to my immediate experience?” If the answer is yes, leave it where it is. If the answer is no, put it in one of the boxes. Then pick up another item and continue the process as you focus upon each item in the room.» — el procedimiento, con la única pregunta que el libro manda hacerle a cada objeto, si importa a la experiencia inmediata

«A great advantage of this process is that you will not be doing a great deal of sorting right now. This really is a process whereby you simply remove the clutter from your environment.» — la voz separa este proceso de una clasificación: lo que hace es retirar el desorden, no ordenarlo

«As you put the item into the box, speak into the recorder—for example, “Unopened package of guitar strings, box number one,” or “Old cell phone, box number one. ”With five or six boxes open at the same time, you could do a general sorting. In other words, all magazines could go in the same box, clothing items in their same box, small miscellaneous items in the same box—but do not get carried away with the sorting process. Just pick up the item, determine if it is necessary to your immediate experience, and, if not, put it in a box, and speak into the recorder what the item was and which box you put it in.» — el registro hablado de cada objeto y su caja, que es lo que quita el miedo a perder algo

«Now, find a wall somewhere in your house or garage where these neat boxes can be placed, and be confident that you can retrieve anything that is important. If you do need the unopened guitar strings, your alphabetical card file will tell you which box you put them in. After a few weeks, when you realize that you have not needed anything from box number 3, for example, you could then move that box out of the house, maybe to some outside storage facility, or you may even be willing to discard its contents, leaving box number 3 available for new clutter that may arise. And as you continue the process, you will begin to relax in the knowledge that you now have control of your environment.» — el destino de las cajas y la regla de descarte por desuso, con el número que se libera para desorden nuevo

«Sometimes people will tell us that they are not bothered by clutter, so we tell them that this process is, then, unnecessary for them. However, since every piece of everything does carry a vibration, almost everyone really does feel better in an uncluttered environment.» — la voz exime del proceso a quien no le moleste el desorden y en la misma frase sostiene que casi todos están mejor sin él

«Physical Beings have a habit of gathering stuff around them. Most of you gather this stuff because it is the way you keep score; it is the way you fill time. In other words, you live in a physical world, and physical manifestation has become important to you, but then you get buried in the details of your manifestation.» — la voz explica la acumulación como manera de llevar la cuenta y de llenar el tiempo, y la llama quedarse enterrado en los detalles de lo manifestado

«We have talked of the feeling of sadness that feels empty. People often try to fill that feeling of emptiness with stuff. They buy one more thing and bring it home, or they eat something; in other words, there are lots of creative ways in which you have tried to fill that void. And so, it has been our encouragement to some: Discard everything from your experience that is not essential to your now.» — y ata la acumulación al intento de llenar un vacío, con la instrucción de descartar lo que no sea esencial al presente

«You all have a capacity for attraction, and when your process is clogged with stuff that you no longer want, the new attraction is slower —and then you end up with a feeling of frustration or overwhelment.» — la voz explica la lentitud de lo nuevo por el atasco de lo viejo, con uno de los términos acuñados que el Preface anuncia

«Never before has it been more important to get a picture in your mind’s eye of your living space. So, imagine yourself in an environment of great clarity—a space with immense order—and imagine yourself knowing where everything is. Imagine organizing it in a way that it is very comfortable. In other words, just imagine. That is what you are shooting for here: The feeling of relief.» — lo que el libro prescribe antes de mover una sola caja, imaginar el espacio ya ordenado y buscar el alivio de esa imagen

«Esther, every now and again, will get a mental picture of her mother. Her mother worked full-time all of Esther’s childhood, and they had a very large property. Her mother did most of the mowing of the huge lawn, and in those days there were no riding mowers—at least, they had never seen one, but Esther remembers her mother mowing. And then, the part that Esther remembers most is that once the lawn was all mowed and the sprinkler had been set to water it, her mother would sit on the porch and just sort of take it all in. And Esther would sit next to her mother and smell the freshly mown grass, and there was an overwhelming feeling of contentment that she was picking up on from her mother.» — el recuerdo del césped recién cortado que la voz atribuye a quien la traduce, y que el proceso usa como modelo del sentir que se busca

«So what you want to do is, in advance, find that feeling-place. And if you do so, and the Energy lines up, then the clarity, ideas, and help will all come into making the physical reality fall into place for you.» — la voz nombra aquí el término que dará título al proceso 18 y lo pone antes de la acción, no después

«What we have noticed with the majority of people who have applied this system is that once they put something in the box, it is rarely something they ever need again. So, after you realize that you have had some item boxed up for a year or two and have not needed it at all, now you may feel freer to donate it to someone or to discard it in some way, but meanwhile, your life has been free of clutter and, therefore, free of that resistance for the entire period of time.» — el cierre del proceso 14, con la medida de lo rara vez que se vuelve a necesitar lo guardado

«When you want to attract more money into your experience • When you want to improve the way you currently feel about money in order to allow even more to flow into your life • When you want to get your juices flowing regarding your specific desire • When you feel that there is a shortage of money in your life» — los cuatro casos de uso del proceso 15, el de la Cartera, que es el que el volumen dedica al dinero

«Perhaps there are no more practiced vibrations in your culture than those related to the subject of money, for many see it as the means through which a good deal of their physical well-being flows. Many people, however, without realizing it, are focused upon the lack of money rather than the presence of money in their experience. So even though they often identify things that they desire, they hold themselves apart from their own desires because they are more accustomed to noticing the lack of dollars than the presence of them. Again, it comes back to the fact that every subject is really two subjects: what is wanted, and the lack of it.» — la voz declara el dinero la materia de vibración más practicada y vuelve a partir el asunto en dos

«Here is the process: First, obtain a $100 bill, and put it in your wallet or purse. Keep it with you at all times, and whenever you hold your wallet or purse, remember that your $100 bill is there. Feel pleased that it is there, and remind yourself often of the added sense of security that it brings to you.» — lo que el libro prescribe para el proceso 15, un billete que se lleva y no se gasta

«Now, as you move through your day, take note of the many things that you could purchase with that hundred dollars: As you pass a nice restaurant notice that, if you really wanted to, you could stop in and have a delicious meal. As you see something in a department store, remind yourself that, if you really wanted to, you could purchase that because you have $100 in your wallet.» — el ejercicio propiamente dicho, gastar el billete mentalmente una y otra vez ante lo que se ve por la calle

«By holding the $100 bill and not spending it right away, you receive the vibrational advantage of it every time you even think about it. In other words, if you were to remember your hundred dollars and spend it on the first thing that you noticed, you would receive the benefit of really feeling your financial well-being only once. But if you mentally spent that hundred dollars 20 or 30 times in that day, you will have received the vibrational feeling advantage of having spent two or three thousand dollars.» — la aritmética con que la voz funda el ejercicio: gastarlo una vez daría el provecho una vez y gastarlo mentalmente treinta, treinta veces

«You see, you do not have to actually be abundant in order to attract abundance, but you do have to feel abundant. A clearer way of saying it is that any feeling of lack of abundance causes a resistance that does not allow abundance.» — la distinción entre ser abundante y sentirse abundante, con la carencia sentida puesta por única resistencia

«And, because you really do have the means to do just that, because you are not pretending something that is not, there is now no hindering doubt or disbelief muddying the waters of your financial flow.» — la voz explica por qué el billete tiene que ser real: al no fingirse nada, no habría duda que enturbie; la frase arranca en la plana anterior

«This is a simple but powerful process, and it will change your financial point of attraction. As your financial situation improves, your $100 stash or savings may grow to $1,000, then to $10,000, then $100,000, and more. Although there is no limit to what the Universe will yield to you, you have to feel good about money in order to allow it into your experience.» — la escala en que la voz propone crecer el ahorro y la condición que le pone, sentirse bien con el dinero para permitirlo

«Remember, you are on this sort of teeter-totter of balance, so you do not have to stop all thoughts of shortage because they are going to creep in; the influence is around you. All you have to do is deliberately offer more thought to tipping the Energies on the side of abundance; offer more deliberate thought—add more conscious use of the Non-Physical Energy toward the prosperity you want. And so, while you are moving through your day noticing how many things you could spend $100 on, you are deliberately utilizing the Non-Physical Energy to enhance your feeling of prosperity.» — la voz no pide suprimir los pensamientos de escasez sino inclinar la balanza con más pensamiento deliberado del otro lado

«Someone once said, “Abraham, you obviously haven’t been physical lately, for $100 won’t go very far.” And we said, You missed the point. You spend $100 one thousand times a day, and you have spent the equivalent of $100,000. And that will bolster your feeling of prosperity, you see. It is the way you feel that is your point of attraction.» — la objeción de que cien dólares no alcanzan, contestada por la voz con la multiplicación mental y con que lo que atrae es el sentir

«Someone said to us, “Well, I haven’t actually put the $100 in my wallet. I put an IOU in there, though.” And we said, Then you must not believe in your own IOU, because it is not fostering the feeling of prosperity. The IOU feels to you like another debt that you are carrying around. The Wallet Process is another means of giving deliberate attention to what makes you feel good.» — el cierre del proceso 15, donde la voz rechaza el pagaré en lugar del billete porque se sentiría como otra deuda

«Seemingly magical things will begin to occur as soon as you achieve that wonderful feeling of financial abundance: The money you are currently earning will seem to go further. Unexpected amounts of money in various increments will begin to show up in your experience. Your employer will feel inspired to give you a raise. Some product you have purchased will offer you a rebate. People you do not even now know will begin to offer you money. You will discover that things you wanted, things that you would have been willing to spend your dollars to have—will come to you even without an expenditure» — la lista de lo que la voz anuncia que ocurrirá, del aumento de sueldo al reembolso y al dinero ofrecido por desconocidos; la frase se corta en el cambio de plana

«When you are aware that the statement you just made is the opposite of what you want to attract into your experience • When you want to establish an improved point of attraction • When you are feeling fairly good but know that you could feel even better, and you are willing to take the time to make that happen right now.» — los tres casos de uso del proceso 16, el Pivote, que es el término con que el capítulo 8 distinguía al observador del visionario

«It is possible to be focused in vibrational opposition to what you really desire without knowing you are. It is like the opposite ends of a stick. When you pick up a stick, you pick up both ends. This Pivoting Process will help you be more aware of which end of your stick you are currently activating: the end that is about what you want, or the end that is about the absence of what you want.» — el símil del palo y sus dos extremos, con que este proceso explica que atender a un asunto no dice en qué dirección se atiende

«The contrast of your time-space-reality is extremely useful, for contrast helps you focus your thoughts: Whenever you know what you do not want, you also know even more clearly what you do want; and whenever you know what you do want, you also know even more clearly what you do not want. And so, your exposure to contrast sharpens your focus and gives birth to new preferences and desires. In» — la voz declara útil el contraste por lo que afila el enfoque en las dos direcciones; la frase se corta en el cambio de plana

«The process of Pivoting is often the first step in beginning to shift your habit of vibration, because this is a process that helps you more clearly define exactly what you desire. But because there is usually a wide variance in the vibration on one end of the stick and the vibration on the other end of the stick, you usually do not immediately shift your vibration just by making a statement of desire.» — la voz acota lo que el proceso hace y lo que no: define el deseo, pero no cambia por sí solo la vibración de un golpe

«At first, your awareness of what you do not want helps you identify what you do want; in other words, as you speak the words of your desire, your vibration may not match your words, but if you will continue the process of Pivoting—that is, if, whenever you feel negative emotion, which helps you know that you are focused upon something unwanted, you will stop and say, I know what I don’t want, so what is it that I do want?—then in time, you will change your vibration on the subject. Little by little, you will redirect your vibration, and eventually the improved vibration will become your dominant thought.» — lo que el libro prescribe en el proceso 16, la pregunta que se hace uno al sentir emoción negativa y que da nombre al ejercicio

«See the process of Pivoting as a gradual shifting of your point of attraction, and enjoy the positive results that must follow. It is not possible for you to consistently give your attention to what you do want and not receive it, for the Law of Attraction guarantees that whatever you are predominantly focused upon will flow into your experience.» — la voz vuelve a poner lo gradual por medida y garantiza el resultado por la ley

«If you have ever experienced (and we know you have) that which you would consider to be negative emotion (you may describe it as fear, doubt, frustration, or loneliness—there are many ways that you describe negative emotion), what you are experiencing in that negative emotion is the thinking of a thought that does not vibrate at a frequency that is in harmony with where or who your own Inner» — la voz define la emoción negativa como desacuerdo entre el pensamiento presente y lo que el Ser Interior sabe; la frase se corta en el cambio de plana

«You see, through all your life experiences, physical and Non-Physical, your Inner Being, or the Total You, has come to a place of knowing and to a place of wanting. And so, when you are in this physical body, consciously focused upon a thought that does not harmonize with that which your Inner Being has come to know, then the resultant feeling within you is one of negative emotion.» — la voz explica de dónde viene ese saber del Ser Interior, de todas las experiencias vividas, y de ahí el desacuerdo que se siente

«As you are understanding that a feeling of negative energy is an indicator that you are not in harmony with your greater knowing, many of you have reached the point of saying, I want to feel good more of the time. And we say that is a magnificent acknowledgment, because when you are saying, I want to feel good, what you are really saying is: I want to be in the place of positive attraction, or I want to be in a place where the thoughts that I’m thinking as I’m feeling good are in harmony with my greater awareness.» — la voz traduce el querer sentirse bien a querer estar en posición de atracción positiva, con lo que el bienestar deja de ser fin en sí

«Many of you would not have such a difficult time feeling good if you were in an environment where there was not so much negative influence around you. (That was certainly true on the day that you emerged into this physical body.) But since you live in a dimension where there is much influence of thought that is abounding, it is of value for you to have some processes to assist you in getting from that place where you do not want to be, to the place where you do want to be, and the process of Pivoting is just such a process.» — la voz concede el peso de la influencia ajena y presenta el proceso como herramienta para el traslado

«When you are feeling negative emotion, you are in a very good position to identify what you want. Because never are you more clear about what you do want than when you are experiencing what you do not want. And so, if you will stop in that moment and say, Something is important here, otherwise I would not be feeling this negative emotion; I need to focus on what I want, and then turn your attention to what it is» — la voz hace de la emoción negativa el mejor momento para saber lo que se quiere, con la fórmula que pone en boca del lector; la frase se corta en el cambio de plana

«that you want—in the moment of the turning of your attention, the negative emotion and the negative attraction will stop. And in the moment the negative attraction stops, the positive attraction will begin. And your feelings will change from not feeling good to feeling good. That is the process of Pivoting.» — la definición del proceso por el instante del giro, donde la atracción cambia de signo; la frase arranca en la plana anterior

«You will never be in a place where there is only the pureness of positive emotion or the pureness of positive Energy, because within everything that you want there is an automatic and natural counterbalance that is the lack of what you want. And so, your work is to define what it is you want, and then to, in a very deliberate way, hold your thoughts in the direction of your desires. And the emotional guidance that comes forth from your Inner Being that you feel in terms of negative or positive emotion will assist you in knowing which side of the equation you are on: Are you thinking of what you want or the lack of it?» — la voz niega que exista un estado de pura emoción positiva y deja el trabajo en sostener la dirección, con la guía emocional por instrumento

«And so, the process of Pivoting is the conscious decision to identify what it is that you do want. We do not want to imply that the feeling of negative emotion is a bad thing, because, very often, in the feeling of negative emotion, you are alerted to the fact that you are in the process of negatively attracting. And so, it is like a warning bell. It is part of your guidance system.» — la voz retira a la emoción negativa la condición de cosa mala y la llama campana de aviso del propio sistema

«We encourage you, very strongly, not to beat up on yourself when you recognize that you are feeling negative emotion. But as soon as you can, stop and say, I’m feeling some negative emotion, which means that I’m in the process of attracting what I don’t want. What is it that I do want?» — la instrucción de no reprocharse el sentir negativo y la fórmula exacta que el libro prescribe decirse

«A very simple process of Pivoting would be to say, I want to feel good. Anytime you are feeling bad, stop and say, What I want is to feel good. And if you will offer that, then thoughts will begin to come to you on the positive side of the equation. And as one thought attracts another, attracts another, and attracts another, you will very soon be vibrating at the frequency that is in harmony with your greater knowing.» — la versión más corta del proceso 16, que reduce el giro a una sola frase

«Our friend Jerry has offered us the most powerful analogy for the way your thoughts connect one to another. He described a large ship coming into the dock. It was to be tied with a rope that was very large, almost one foot in diameter, too big and bulky to throw across the expanse of water. And so, instead, a small ball of twine was tossed across, which was spliced into a little bigger rope, which was spliced into a little bigger rope, which was spliced into a little bigger rope. Until, eventually, the very large rope was easily pulled across the big expanse of water. And this is the way your thoughts dovetail into one another, with one connecting to another.» — el símil del cabo que se empalma hasta pasar la maroma del barco, que la voz atribuye expresamente a uno de los dos firmantes y no a sí misma; el pasaje arranca detrás del corte de chunk

«On some subjects, because you have been pulling on the negative rope longer, it is very easy for you to get off on a negative tangent. It can take just a little utterance from somewhere, a memory of something, or some suggestion to take you into a negative tailspin right away. And so, sometimes it is difficult for you to let go of that negative rope, for you have been holding on to it for a very long time. But if, whenever you are feeling negative emotion, you will realize that you are negatively attracting, and you will let your dominant intent be to feel good, then you can find yourself rather easily letting go of that rope.» — la voz aplica el símil al hábito, con el cabo negativo que se suelta mal por llevarse tirando mucho tiempo

«And so, both the process of Pivoting and the process of the Book of Positive Aspects are offered to assist you in recognizing (in the early, subtle stages), that you are pulling on the very tips of that negative ball of twine, so that you may, right away, release it and reach for the positive twine.» — la voz empareja el proceso 16 con el 8 y les da la misma función, reconocer temprano el cabo que se está jalando

«As we are talking about the way thoughts connect to thoughts connect to thoughts connect to thoughts, we want to point out something that you may be missing: It is much easier to go from a little thought of something that makes you feel good to more that makes you feel good to more that makes you feel good—than it is to be in a place where you are feeling bad, and then go right to a place where you feel good.» — la regla de los saltos pequeños enunciada otra vez, ahora como encadenamiento de pensamientos que sientan bien

«And for that reason, we would encourage the greatest exercise in Pivoting that we can offer you. In other words, rather than moving forward into your day, not having any clear ideas of what you want, and waiting until some influence touches you that you do not like, feeling the negative response, and deciding that you will pivot—it is so much more productive for you to go about your day with the decision to look for positive aspects.» — la voz prefiere el pivote hecho de antemano al hecho por reacción, y por eso lo empalma con el proceso 8

«Pivoting is the continual, hour-after-hour, segment-by-segment process whereby you choose the positive. It is the way you get to feeling good—and it is a way that you can get whatever you want.» — el cierre del proceso 16, que lo liga al proceso 11 por el reparto del día en tramos

«If you were to sit on your foot and cut off the circulation of the flow of blood, or if you were to put a tourniquet around your neck and restrict the flow of oxygen, you would see immediate evidence of this restriction. And, in like manner, when you think thoughts that are not in harmony with your greater knowing, the flow of Life Force—the Energy that comes from your Inner Being into your physical apparatus—is stifled or restricted. And the result is that you experience negative emotion.» — el símil del pie dormido y el torniquete con que la voz explica la emoción negativa como flujo estorbado de Fuerza de Vida

«And if you would allow it to continue over a longer period of time, you would receive negative deterioration of your physical apparatus. That is why we say that all illness is a result of the allowance of negative emotion.» — y la afirmación más dura del proceso, que toda enfermedad vendría de permitir emoción negativa sostenida

«When you realize that your current Vibrational Point of Attraction is not where you want it to be • When you are aware that you are feeling negative emotion about something that is important, and you want to find a way of feeling positive emotion instead • When something has just happened that is not to your liking, and you want to think about it while it is on your mind and change your point of attraction so that it does not happen again • When you are reaching for a feeling of relief» — los cuatro casos de uso del proceso 17, la Rueda de Enfoque, que es el más desarrollado de la segunda mitad de la serie

«Through exposure to life experiences, people often arrive at beliefs that hold them in a vibrational pattern that disallows their receiving of something they desire. And even though those beliefs are not serving them, many people defend their continual return to those unpleasant facts, arguing, “After all, they’re true.» — la voz describe la creencia que estorba y la defensa con que dice que se la sostiene, que es verdadera

«Sometimes someone will say to us, “But Abraham, I cannot ignore this, for it’s true!” And we say, It is only true because someone has made it true by giving their attention to it. You see, what you are actually saying here is, “Because someone else has given attention to this and therefore, by the Law of Attraction, invited it into their own experience, I think I’ll do the same. In other words, even though I don’t want it, I’m obliged to create it in my own reality because someone else did.» — la objeción de no poder ignorar lo verdadero, traducida por la voz a lo que a su juicio dice en realidad

«There are many things that are true that you do desire. And there are many things that are true that you do not desire. It is our encouragement that you give your attention to the things that you do desire—and make those wonderful things the truth of your life experience.» — la voz reparte lo verdadero en deseado y no deseado y deja la elección en qué se atiende

«We recommend that you spend 15 or 20 minutes with this process anytime you feel strong negative emotion about something that has happened, or whenever you wish to improve your feeling of clarity. Your heightened negative emotion is always highlighting a good opportunity to shift your Energy on a subject, because something that you have been living has brought it to a particularly focused position. And so now, as you apply the Focus Wheel Process to it, you will be able to feel any improvement that you achieve in a more emphatic way. We recommend using this Focus Wheel Process in any moment when you are keenly aware of something that you do not want.» — lo que el libro prescribe sobre cuándo aplicar el proceso 17, con la emoción negativa fuerte tomada por buena ocasión y no por obstáculo

«This is the process where you make a general statement that matches your desire. In other words, you’re reaching for a match. And how do you know you have found one? Because you feel a sense of relief. In other words, the statement soothes you; the statement just feels a little better. And once you find it, if you can focus there for a little bit, even amplify it or exaggerate it, or remember something related to it . . . that is to say, if you can manage, once you find that gentle comforting statement, to stay there for at least 17 seconds so that you allow another thought to join it . . . it will then give impetus to your newly stated belief.» — la mecánica del proceso 17, con el alivio por señal de haber dado con la frase y los diecisiete segundos del capítulo 21 por medida

«Here’s how to begin the Focus Wheel Process: Draw a large circle on a sheet of paper. Then draw a smaller circle, about two inches in diameter, in the center of the large circle. Sit back and look at the small circle and feel your eyes focus upon it. Now, close your eyes for a moment and turn your attention to whatever has happened that has produced the negative emotion within you. Identify exactly what it is that you do not want. At this point, say to yourself, Well, I clearly know what I don’t want. What is it that I do want?» — el dibujo que el libro prescribe y la pregunta con que se abre el ejercicio, que es la misma del proceso 16

«I feel fat, and I want to feel slender. I feel poor, and I want to feel prosperous. I feel unloved, and I want to feel loved. I feel deceived, and I want to feel honored. I feel ill, and I want to feel well. I feel powerless, and I want to feel my power.» — los seis pares de sentir presente y sentir deseado que el libro imprime de muestra, formulados por el sentir y no por la cosa

«Next, try to write statements around the outside edge of your large circle that match what it is that you do want. When you find a statement that is a close enough match, you will know it. In other words, you will feel whether your statement does not match and throws you off the wheel into the bushes, so to speak, or whether it is a statement that is close enough to your desire that it sticks.» — la instrucción de escribir en el borde de la rueda y el criterio con que se acepta cada frase, que se quede o que tire a uno a los matorrales

«The reason the Focus Wheel Process is so effective is because the statements you are writing are those that you have deliberately chosen. They are general statements that you already believe, that match your desire. And the reason it works is because the Law of Attraction is so very powerful that when you hold a thought for as» — la voz explica el efecto del ejercicio por tratarse de frases generales ya creídas; la frase se corta en el cambio de plana

«Whenever you make a general statement, you are more likely to be pure in your thought than when you make a specific statement, so the power of the Focus Wheel is that you are making general statements that you already believe, and as you hold each of them for 17 seconds or so, it gives you an opportunity to offer a pure vibration that is more and more specific to your desire.» — y da la razón de que las frases sean generales: lo general sería más puro que lo específico y permitiría ir acercándose

«So, let us say that you are preparing to do this process and you know that your intention is to eventually write: “I feel good about my body” or “My knee is well.” But if you begin there, if the first little phrase you write is: “I feel good about my body,” you can tell, by the way you feel, that the Energy is not lined up, because all it did was make you feel ornery and aggravate your awareness that you do feel fat or that your knee does hurt. So that statement was too specific.» — el ejemplo de la frase demasiado específica, que irrita en vez de aliviar

«In other words, it is sort of like trying to jump on a train that is going too fast, and all you do is just bounce back off of it. Can you imagine trying to get on a merry-go-round that is going too fast? You cannot quite get on yet, but if it slows down, you can— and then it can speed up, and as it does so this time, you can be comfortable on it. What you want to do is slow the “wheel” down, slow the belief down, so that you can get on. And then, once you do so, you can increase the speed of the vibration.» — el símil del tren y el carrusel con que el libro explica por qué la frase tiene que ir despacio para poder subirse a ella

«And so, let us continue to add power to this process of the Focus Wheel: As you find thoughts that feel good, continue writing them around the perimeter of your larger circle. Start at what 12 o’clock would be if you were looking at a clock, and then continue around to» — la instrucción de las doce posiciones de la rueda, que es lo que da al ejercicio su forma; la frase se corta en el cambio de plana

«Since your thoughts are sometimes already spinning with such momentum that even though you want to change them you cannot find a place to jump in, this Focus Wheel game is about finding a thought that is close enough to where you are right now so that you do not end up thrown off in the bushes, but where you can gradually begin moving toward the way you want to feel. It is a wonderful vibrational bridging tool.» — la voz llama puente vibratorio al ejercicio y lo funda en hallar un pensamiento bastante cercano al presente

«For example, let us say that you feel fat. Something has happened in your experience to bring that to the forefront of your mind, and you are, in this moment, feeling strong negative emotion about it. Take your paper, draw a circle in the center of the page, and within the circle you could write the words: I want to feel slender.» — el ejemplo del peso, con la frase que va en el círculo del centro de la rueda

«I can be slender again. (This thought is too far from what you really believe, and while you want to believe it, you do not. And you can feel that you do not. And so, because this thought does not feel good to you, this is an off-in-the» — la primera frase probada y su descarte, con la razón dicha en la misma línea, que se la quiere creer y no se la cree; la frase se corta en el corte de chunk que reemite la plana

«It will be fun to buy some new clothes. (2:00) (That one sticks.) My body will feel more refreshed. (3:00) (Sticks.) I will feel more vital. (4:00) (Sticks.) New ideas will come to me. (5:00) (You’re rolling now.) I already know some things that will help. (6:00) (Yes, feeling better.) I like taking control of my own experience. (7:00) (Sticks.) I’m looking forward to making this change. (8:00) (Sticks.) I like feeling good. (That one sticks. Write it on the 9:00 position.) I like feeling good in my body. (10:00) (Sticks.) I feel good about my body. (11:00)» — las diez frases restantes de la rueda con su hora, que es como el libro imprime el ejercicio entero terminado

«You may have heard us say that your point of power is in the present because even though you may be thinking about the past, or you may be thinking about the now, or you may be thinking about the future—you are doing it all right now. You are vibrating now. The pulse is now. The vibrational offering is now. So what is happening is, any creative tension between the summoning of the Life Force and allowing of it to flow through you (the summoning and the allowing) —is all happening right here in the now.» — la voz sitúa todo el trabajo en el presente, porque el pensar sobre el pasado y sobre el futuro se hace ahora

«The Focus Wheel is the best tool that we have found to help you bridge a belief so that it matches your desire. Now, this is what we mean by this: The formula for creating anything, even, let us say, joyful tax preparation, is: Identify the desire and then achieve a vibrational match with it.» — la voz llama a la rueda su mejor herramienta para tender el puente entre creencia y deseo, con el ejemplo de la declaración de impuestos

«Now, here is the thing we want you to hear: We have not solved anything. In other words, nothing has really changed. You still have your taxes to do, but the thing that we most want you to hear is that you are standing in a different place right now than you were before. In other words, clarity will come to you more easily than before. Memory will come to you more easily than before. An idea of where you left something will come to you more easily than before. In other words, all those scattered pieces of your life that are in piles and boxes and folders and bottoms of purses— all those pieces of information that are scattered here and there— are coming together in your mind.» — la acotación más honesta del proceso, dicha por la voz: nada se ha resuelto, lo que cambia es el sitio desde donde se mira

«Now you might not believe that, but that is because you have not allowed the Energy to flow through you toward that object of attention without resistance. You summon the Energy because you want to do what you have to do, but then you divert the Energy, because you have all these habits or practiced statements that do not let it flow. When you have Energy flowing through you and you do not let it flow, it beats up on you pretty good.» — y explica el desgaste por energía convocada y no dejada fluir, que es su lectura del deber cumplido a disgusto

«By applying this simple but powerful Focus Wheel Process to a variety of subjects as they come up in your life, you can effectively improve your point of attraction regarding everything that is important to you.» — el cierre del proceso 17, con el ejercicio ofrecido para cualquier materia que importe

«Save Yourself Because thoughts are so attractive (meaning that they attract more unto them), once you get going on a thought that does not feel good to you, it is easier for you to stay focused in that train of thought until you have a great amount of negative energy going than it is for you to pivot away.» — la voz explica por qué cuesta girar una vez metido en un pensamiento que no sienta bien, por lo atractivos que declara a los pensamientos; el troceo pega aquí el título del apartado

«manifested into a physical, tangible, definable truth is because someone has given enough attention to it to make that so. But just because someone else has managed to create their truth, it does not mean that it has any relationship to you or to what you will create.» — la voz repite el argumento del capítulo 12, que lo manifestado es verdad por haber sido atendido y la verdad de otro no obliga a nadie; la frase arranca en la plana anterior

«Now, just by trial and error, you can choose another statement. You might say something like, “I know that my physical body responds to my thoughts.” Well, that is a softer statement, and you already believe that, but that makes you a little mad at yourself. So that was not a really good starting point either.» — la primera frase probada en la rueda y su descarte, que no irrita menos sino que enoja a uno consigo mismo

«throws you off in the bushes.) I’ll find something that will work for me. (While this thought feels a little bit better than the previous ones, it still does not feel good. You have tried many things, but you believe that you have found nothing that works for you, so this thought just points out your past failures. This thought throws you off in the» — la frase descartada del ejemplo del peso, con la razón dicha en la misma línea, que señala los intentos fallidos anteriores; el pasaje arranca detrás del corte de chunk que reemite la plana

«I know that there are others who have been where I now am who have found a way that works for them. (With this thought, you may feel a sensation of relief. You do feel a little bit better. Remember, you are not looking for the end-all solution here. You are only looking for a thought that feels good enough that it sticks. And this thought does not throw you off in the bushes. So, write it on your page at the 12 o’clock position, and now reach for more good-feeling thoughts.» — la primera frase que el libro da por buena en ese ejemplo, la que remite a otros que estuvieron donde uno está, con la advertencia de no buscar la solución definitiva

«So, just begin by trying to find a phrase that will let you on the wheel. Write phrases that are close enough to what you already believe so that they do not throw you off in the bushes, so to speak. In other words, if you wrote, “I’m enjoying doing my taxes,” you are off in the bushes.» — el ejemplo de los impuestos, con dos frases descartadas por exageradas en sentidos opuestos, la complaciente y la resentida

«And so, the goal is to try to find something that matches your desire that feels better. So you could write something like, “I like to be on top of my life. It feels good to meet my commitments. I like it when I do things in a timely fashion. I love the feeling of order and organization in my experience.» — y la tanda de frases que el libro prueba en ese ejemplo, todas sobre el orden y el cumplimiento y ninguna sobre el impuesto

«Now, that might have been too strong a statement. You will know. You can tell by the way it feels whether it stays or whether it does not. So through trial and error, you just keep trying.» — la voz admite que esa tanda pudo pasarse de fuerte y deja el criterio en el sentir, con el tanteo por método

«So then you say something like, “I imagine that there are a whole lot of people who have felt like I’m feeling, who now have this thing handled.” That got you on the wheel! “While the IRS taxing system isn’t perfect, it’s a mechanism through which our government runs.” Now, did you end up in the bushes on that, or did you get on the wheel with it? “Every year I’m getting better at this. I’m managing things more comfortably. I’ll find ways to make it more comfortable. My taxes are a good incentive to help me sort of get organized and figure things out.» — y la frase que sí deja subir a la rueda, la que admite el sistema fiscal sin celebrarlo ni maldecirlo

«Whether it is a castle or a button, if you are using it as your object of attention, it is summoning the Life Force, and it is the feel of the Life Force that life is about. The reason that you are summoning it is inconsequential. In other words, it is every bit as possible to feel as much joy in the preparation of your taxes as in the planning of an ocean cruise.» — la voz declara indiferente el objeto de atención y hace posible la misma alegría en los impuestos que en un crucero

«When you want to improve a situation • When you want more money • When you want a better job • When you want a happier relationship • When you want a better-feeling body» — los cinco casos de uso del proceso 18, Hallar el Sitio del Sentir, que son las cinco materias que el volumen trata en todo el cuerpo

«Because you are generally giving much more attention to the aspects of your life that you are living right now, whatever you are living is carrying more vibrational weight, so to speak, than what you are desiring or imagining. In other words, if you have a desire to be slender even though you are considerably overweight at the moment, the aspects of your now experience are probably outweighing the vibrations of your visualizations.» — la voz explica por qué lo que se vive pesa más que lo que se imagina, con el ejemplo del peso corporal

«Often people will say, “I’m not happy over here. I wish I could be over there.” But when asked what it is about over there that they desire, usually they will just explain to you what is wrong with being» — la voz vuelve al diálogo del aquí y el allá del capítulo 20 y señala que al preguntar por el allá se contesta con el aquí; la frase se corta en el cambio de plana

«As in our earlier “gas gauge” example of how unhelpful it would be for you to put a “Happy Face” sticker on your dashboard to cover the empty tank indicator, in like manner there is no value in using happysounding words if you do not feel happy. The Law of Attraction is not responding to your words, but instead is responding to the vibrations that are radiating from you. It is quite possible for you to use all the right-sounding words at the same time that you are in a state of powerful resistance to your ownWell-Being, for the words you use are not important—how you feel is what matters.» — la voz vuelve al símil de la calcomanía sobre el indicador y niega valor a las palabras alegres sin el sentir que les corresponda; el troceo parte *happy-sounding* por el guion de fin de renglón y span lo devuelve unido.

«The Finding the Feeling-Place Process is most helpful in making sure that you are radiating a vibration that will serve you, for this is a process that will help you realize what you are actually attracting. It is one of using your imagination to pretend that your desire has already come about and that you are now living the details of that desire.» — lo que el libro prescribe en el proceso 18, fingir que el deseo ya se cumplió y vivir sus detalles con la imaginación

«As you focus upon what it feels like to be living your desire, you cannot, at the same time, be feeling the absence of your desire, so with practice, you can tip the scale, so to speak, so that even though your desire has not yet actually manifested, you are offering a vibration as if it has—and then it must.» — la razón que la voz da del ejercicio, que sentir lo cumplido excluye sentir su ausencia, con lo que la balanza se inclina

«Your goal, in this process, is to conjure images that cause you to offer a vibration that allows money. Your goal is to create images that feel good to you. Your goal is to find the feeling-place of what it would be like to have enough money, rather than finding the feeling-place of» — el objetivo del proceso 18 dicho en tres frases paralelas, con el verbo conjurar que el proceso 4 también usa; la frase se corta en el cambio de plana

«Now, you could remember a time when you had more money, or even a time when, even though you did not necessarily have more money, at least you were not feeling the stress of too many bills. And when you find that memory, try to remember as many details as possible in order to try to feel it even more.» — el primer recurso que el libro prescribe, recordar con detalle un tiempo de menos apremio, aunque no fuera de más dinero

«You could pretend that you have more money than you have any sensible use for; pretend that you have so much money you do not know where to keep it all, and imagine you have tons of it in the pantry and under the bed. See yourself going to the bank with buckets of change that you are converting to dollar bills. See yourself taking $5, $10, and $20 bills and having them converted to $100 bills, just for sake of more efficient storage.» — el segundo recurso, fingir una cantidad sin uso sensato, con las imágenes concretas que el libro imprime

«You could pretend that you have a credit card with an unlimited balance that is easily paid, a sort of magic card that you use several times every day because it is very efficient, and then, once a month, you casually write a check that pays for all of the charges you have incurred. Pretend that the ratio of your money in the bank to this month’s credit card balance is so great that paying the bill is inconsequential to your experience.» — el tercer recurso, la tarjeta de saldo ilimitado que se paga sin peso, donde el libro traslada el ejercicio a la vida corriente

«The more often you play this Finding the Feeling-Place Process, the better you will be at playing it, and the more fun it will become. When you pretend, or selectively remember, you activate new vibrations—and your point of attraction shifts. And when your point of attraction shifts, your life will improve regarding every subject for which you have found a new feeling-place.» — el cierre del proceso 18, que pone el fingir y el recordar selectivo como las dos maneras de activar vibraciones nuevas

«You feel around for something else, and you say something like, “For the most part, my body’s doing all right.” Well, now, you believe that. That statement feels all right. You are able to stay on the merry-go-round.» — la frase que sí se queda en la rueda del ejemplo del cuerpo, la que concede que el cuerpo va bien en general

«As you write that around your circle and focus upon it, it feels pretty good. And then you make another statement. You might say something like, “I believe that the Universe matches our vibration.” You absolutely believe that, so that statement sticks. Then you make a statement such as, “This physical body has been very good for me.” You believe that. That statement stays. You are beginning to feel a little better. You are beginning to feel a little sense of relief. You are not quite so mad at yourself. Your vibration is lifting.» — y la tanda siguiente, con el alivio creciente por única señal de que el ejercicio avanza

«For example, let us say that you go to your mailbox and you find the second notice of another unpaid bill, and as you open the envelope, you feel very uncomfortable because, right now, you do not know how you are going to pay it. This bill is already overdue, and there are several other overdue bills, so you feel overwhelmed and discouraged. “I want more money,” you say. “I want a lot more money,” you say, with even more emphasis.» — el ejemplo de la cuenta vencida con que el libro ilustra el proceso 18

«But you are offering empty, hollow words—that have no impact on your point of attraction whatsoever—because your words are not your point of attraction. Your point of attraction is your practiced vibrational offering, and the way you feel is the real indicator of what your point of attraction is. Right now you are pulsing with emotions that clearly match your state of not having enough money.» — y la objeción de la voz a las palabras de deseo dichas desde el agobio, que llama huecas por no coincidir con el sentir

«When you want to experience the relief of being debt free • When you want to create a larger spread between what you earn and what you spend • When you want to feel better about money • When you want to increase the flow of money through your experience» — los cuatro casos de uso del proceso 19, el de la deuda, que es el primero cuyo rango arranca ya en la frustración

«To begin the process of Releasing Resistance to Become Free of Debt, obtain a columnar writing pad with as many columns as you have monthly expenditures. Now, beginning in the far left column, write a heading that describes your largest monthly outgo. For example, if the largest check that you write each month is your house payment, then you would write as a header: “House Payment.” And next, on the first line beneath the header, write the dollar amount of that house payment. Now, circle this amount, which represents the amount you» — lo que el libro prescribe para abrir el proceso 19, un cuadro por columnas ordenado de mayor a menor pago; la frase se corta en el cambio de plana

«Next, enter your second largest payment in the second column, your third largest payment in the third column, and so on. And across the top of your columnar pad, write the following affirmation: It is my desire to keep my promise regarding all of these financial obligations, and in some cases I will even do twice as much as is required.» — la fórmula que el libro manda escribir en lo alto del cuadro, que es una promesa y no un deseo

«The first time you receive a bill, or when it is time to make the payment for the category that is on the far right column of your pad (in other words, the smallest payment you make each month), write the check for exactly twice what is required. And as you do so, write in the new amount of that outstanding balance.» — la regla central del proceso 19, pagar el doble en la columna menor, que es donde el ejercicio actúa

«This may seem a little strange to you when you first begin to play the game, but even if you do not have enough money to pay everything you owe in all of the columns, still double the payment in the far right column. And feel glad that you have kept your new promise to yourself to do your best to pay everything you owe, and to do even twice that amount in some cases.» — la voz manda doblar ese pago aunque no alcance para todo lo demás, y pone el sentir de haber cumplido la promesa por objeto del ejercicio

«Because you are looking at your finances in a way that is new, your vibration will begin to shift right away. As you feel even the slightest bit of pride for keeping your word, your vibration will shift. As you keep your promise about doubling up on payments, your vibration will shift. And with this shift, even if it is slight, things will begin to change in your financial condition.» — la voz explica el efecto por el cambio de mirada y por el orgullo de cumplir la palabra dada

«Money that you were not expecting will appear in your experience. Bargains will reveal themselves, so your dollars will go further than you expected. All kinds of unusual financial things will occur, and when they do, be consciously aware that these things are happening in response to your newly focused attention and the resultant shift in your vibration.» — lo que la voz anuncia que ocurrirá y la instrucción de atribuirlo a sabiendas al cambio de atención

«There is nothing wrong with debt, but if your debt feels like a heavy burden, then your vibration around money is one of resistance. When the burden has lifted, when you feel lighter and freer, your resistance has lifted, and you are now in the position to allow the Well-Being to flow abundantly into your experience.» — la voz no condena la deuda y solo la trata como señal: lo que importa es si pesa, porque el peso sería la resistencia

«So what about creating a very positive current of financial abundance? What about getting so good at visualizing that the money flows through you easily? What about expending money, and giving more people opportunity? xWhat better way could anyone spend money than by putting it back into the economy that gives more people work? The more you spend, the more people benefit, and the more people get in on the game and dovetail with you.» — la voz defiende el gasto como devolución de dinero a la economía que da trabajo; el troceo imprime una x suelta antes de What

«Your role is to utilize Energy. That is why you exist. You are an Energy-flowing Being—a focuser, a perceiver. You are a creator, and there is nothing worse in all of the Universe than to come forth into the environment of great contrast, where desire is easily born, and not allow Energy to flow to your desire. That is a true squandering of life.» — la voz define el papel del lector por el uso de energía y llama derroche de vida a no dejarla fluir hacia el deseo

«There is no high work or low work. There are just opportunities to focus. You can feel as fulfilled and satisfied in any task as in any other, for you are on the Leading Edge of thought, and Source is flowing through you—no matter what your endeavor is. You can be joyful at any endeavor where you decide to allow the Energy to flow.» — la voz niega jerarquía entre los oficios y deja la diferencia en dejar fluir la energía

«Spiritual versus material are not the choices. Everything about this physical, manifestational experience is spiritual. It is all the end product of Spirit. You have nothing to prove. Be the Spiritual You, and create like a physical fiend.» — la voz descarta la oposición entre lo espiritual y lo material y declara espiritual la experiencia manifestada entera

«We never hear any of you say, “Well, I’ve been well for so many years that I’ve decided that I’m going to be sick for a while to allow some other people to be well,” because you know that whether you are well or not does not have anything to do with others not getting enough wellness. You are not using up the wellness and depriving them of it. And it is the same thing with the abundance. People who have managed to find vibrational harmony with abundance—so that it is flowing to them and through them— are not depriving anyone else of that abundance. You cannot get poor enough to help the impoverished people thrive. It is only in your thriving that you have anything to offer anyone.» — la voz repite el argumento de la salud aplicado a la abundancia y niega que empobrecerse ayude a nadie

«You can say things such as, “When I look at successful people— and by that I mean rich people, yes, and I mean happy people— sometimes they are rich and happy. When I’m talking about the successful ones, what I really mean is the really happy people—people who are really joyful, who are eager to get on with their day. Almost all of them, without exception, had a pretty rough beginning, which turned them into powerful rebels, initially. Then they found a way to relax into their natural birthright of Well-Being.” (Success is about a happy life, and a happy life is just a string of happy moments. But most people do not allow the happy moments because they are so busy trying to get a happy life.» — la voz define la vida feliz como sarta de momentos felices y objeta que se los pierda por perseguir la vida feliz entera

«All the resources you will ever want or need are at your fingertips. All you have to do is identify what you want to do with it and then practice the feeling-place of what it will be like when that happens. There is» — la voz remite al sitio del sentir del proceso 18 como el paso que falta después de identificar lo que se quiere; la frase se corta en el corte de chunk que reemite la plana

«Savor more; fix less. Laugh more; cry less. Anticipate positively more; anticipate negatively less. Nothing is more important than that you feel good. Just practice that and watch what happens.» — el cierre del proceso 19, con cuatro pares de imperativos y la fórmula que el volumen repite, que nada importa más que sentirse bien

«And we say to you, You do have a manager who is that and much more. You have a manager who works continually on your behalf called the Law of Attraction, and you have only to ask in order for this Universal Manager to jump to your request.» — la voz nombra gerente universal a la ley de atracción y hace del pedir la única condición para que actúe

«You would not do that, would you? You would put your manager to work. You would delegate to him or her, making requests with an expectation of receiving. And that is the way you must treat the Law of Attraction. Make requests with the attitude of expecting results. And when you delegate in that way, you are doing the only two things that are required in Deliberate Creation: You are identifying your object of desire, and you are allowing the Universe to yield it to you.» — lo que el libro prescribe en el proceso 20, delegar con expectativa de resultado, que reduce la creación a los dos pasos de siempre

«So, setting goals is like delegating to the Universal Manager. And achieving the vibration of allowing is like standing back and trusting your manager to set things into place, trusting that when something is required of you, your manager will bring your attention to it. In other words, when another decision is needed from you, you will be aware of it.» — la voz traduce fijar metas a delegar y permitir a confiar, con el aviso de que el gerente avisará cuando toque decidir

«You are not delegating your life—you are creating your life. You are becoming the visionary, in the creation mode, rather than the “actionary.” But there will still be plenty of things that you will want to do. We in no way want to steer you away from action. Action is fun. There is not anything in all of the Universe more delicious than to have a desire that you are a vibrational match to, and—in that alignment of your being connected to Source Energy—being inspired to an action. That is the furthest extension of the Creation Process— there is no action in all of the Universe that is more delicious than inspired action.» — la voz acota el proceso: no se delega la vida, y la acción no se descarta sino que se la quiere inspirada, que es como llama a la que nace del alineamiento

«Your action has nothing to do with your abundance! Your abundance is a response to your vibration. Of course your belief is part of your vibration, so if you believe that action is part of what brings you abundance, then you have to unravel that.» — la voz desliga la abundancia de la acción y coloca la creencia contraria como lo que habría que deshacer

«We would like you to release the word earn from your vocabulary and your understanding altogether, and we would like you to replace it with the word allow. You want to allow your Well-Being; it is not something that you need to earn. All you have to do is decide what you would like to experience, and then allow it in order to receive it. It is not something you have to struggle or try for. You are all worthy Beings, and you are deserving of this Well-Being.» — y pide sustituir la palabra ganar por permitir, que es la enmienda de este proceso al trabajo como fuente de abundancia

«When you feel you have too much to do • When you want more time to do more things that you enjoy • When you want to become the powerful creator that you were born to be» — los tres casos de uso del proceso 20, el de entregarlo al gerente, que comparte los dos primeros con el proceso del mantel y por eso el volumen los imprime dos veces

«Imagine that you are the owner of a very large corporation and that there are thousands of people who work for you. There are people who assist in the manufacturing and marketing of your products; and there are bookkeepers, accountants, and advisors. There are artists, advertising experts—thousands of people, all working to make your company successful.» — el símil de la empresa con que el proceso 20 empieza, con miles de personas trabajando para uno

«Now, imagine that you do not personally work with any of these people, but you have a manager who does, and your manager understands them, advises them, and directs them. So, whenever you get an idea about something, you express it to your manager, who says, “I’ll take care of that right away.” And he does. Efficiently.» — y la figura del gerente que trata con todos ellos, que es lo que el ejercicio pide imaginar; la frase se corta en el cambio de plana

«But most of you do not see this manager in this way. You have this manager, but you continue to hold the responsibility in your own heart. In other words, you say, “Oh yeah, the Law of Attraction is out there, but I’ve got to do all the work.” And we say, Well, then, what good is the Law of Attraction?» — la voz describe el uso que dice que se le da a ese gerente, con la responsabilidad retenida en el propio pecho

«That would be like having a manager that you pay $500,000 a year to who just asks you, “Is there anything you want from me?” And you reply, “No, no, no. I’m happy just to pay you to have that title.” Meanwhile, you are out there scrambling around, doing all the computer stuff and all the building stuff . . . you work yourself into oblivion and are exhausted all the time, while your manager is basking on the beach somewhere.» — y el símil del empleado caro al que no se le encarga nada mientras uno se agota haciendo todo

«When you do not feel well • When you have been given an unsettling diagnosis • When you are feeling pain • When you want to feel more vital • When you feel a vague fear associated with your body» — los cinco casos de uso del proceso 21, el de la salud, que es el que el volumen dedica a la enfermedad y al diagnóstico

«Do this process while lying in a comfortable place—the more comfortable, the better. Choose a time when you have approximately 15 minutes when you are not likely to be disturbed by anyone. Now, write this short list in a place where it will be easy for you to read, and when you first lie down, read it slowly to yourself.» — lo que el libro prescribe para abrir el proceso 21, quince minutos tendido y una lista leída despacio

«Even if I don’t know what to do in order to get better, my body does. • I have trillions of cells with individual Consciousness, and they know how to achieve their individual balance. • When this condition began, I didn’t know what I know now. • If I had known then what I know now, this condition couldn’t have gotten started.» — las primeras fórmulas de la lista que el libro manda leerse, dichas en primera persona y con el saber puesto del lado del cuerpo y de las células

«I don’t need to understand the cause of this illness. • I don’t need to explain how it is that I’m experiencing this illness. • I have only to gently, eventually, release this illness. • It doesn’t matter that it got started, because it’s reversing its course right now. • It’s natural that it would take some time for my body to begin to align to my improved thoughts of Well-Being.» — la parte de la lista que retira expresamente la exigencia de entender ni explicar la enfermedad, y que pide tiempo sin apremio

«My Inner Being is intricately aware of my physical body. • My cells are asking for what they need in order to thrive, and Source Energy is answering those requests. • I’m in very good hands. • I will relax now, to allow communication between my body and my Source. • My only work is to relax and breathe. • I can do that. • I can do that easily.» — el cierre de la lista, donde la única tarea que el libro deja al lector es relajarse y respirar

«Now, just lie there and enjoy the comfort of the mattress beneath you—and focus upon your breathing—in and out, in and out. Your goal is to be as comfortable as possible. Breathe as deeply as you can while still remaining comfortable. Do not force it. Do not try to make anything happen. There is nothing for you to do other than to relax and breathe.» — la parte de respiración del proceso 21, con la instrucción expresa de no forzar ni intentar que algo pase

«You will very likely begin to feel soft, gentle sensations in your body. Smile, and acknowledge that this is Source Energy specifically answering your cellular request. You are now feeling the healing process. Do nothing to try to help it or intensify it. Just relax and breathe—and allow it.» — las sensaciones que el libro manda leer como respuesta de la Fuente a la petición celular, con la instrucción de no ayudarlas

«If you were experiencing pain when you laid down, follow the same process. However, if you were feeling pain, it would be helpful for you to add these words to your written and spoken list: • This sensation of pain is an indicator that Source is responding to my cellular request for Energy. • This sensation of pain is a wonderful indicator that help is on the way. • I will relax into this sensation of pain because I understand that it’s indicating improvement.» — las tres fórmulas que el libro añade para el dolor, donde el dolor queda leído como señal de que la ayuda va en camino

«The next time you feel any discomfort, stop in the middle of it and say to yourself, “This discomfort that I’m feeling is nothing more than my awareness of resistance. It’s time for me to relax and breathe, relax and breathe, relax and breathe.” And you can, in seconds, bring yourself back into comfort.» — la fórmula corta que el libro prescribe en el momento del malestar, que lo declara conciencia de resistencia

«Every cell in your body has a direct relationship with Creative Life Force, and each cell is independently responding. When you feel joy, all the circuits are open, so the Life Force can be fully received. When you feel guilt, blame, fear, or anger, the circuits are hindered and Life Force cannot flow as effectively. Physical experience is about monitoring those circuits and keeping them as open as possible. Your cells know what to do; they are summoning the Energy.» — la voz da a cada célula trato directo con la Fuerza de Vida y hace del estado de ánimo lo que abre o estrecha esos circuitos

«The question that often arises is: “Well, what about the little ones? What about the unhealthy babies?” And we say that they have been» — la objeción del niño enfermo, que es la más dura que el volumen se plantea; la frase se corta en el cambio de plana, donde va la respuesta

«exposed to a vibration, even in the womb, that caused them to disallow the Well-Being that would have been there otherwise. But once they are born, no matter what their disability, if they could be encouraged to the thought that would allow the Well-Being, then even after the body is fully formed, it could be regenerated into something that is well.» — la respuesta de la voz a esa objeción, que remonta la vibración al vientre materno y deja abierta la regeneración; la frase arranca en la plana anterior

«It is natural for you to be absolutely well. It is natural for you to be abundant. It is natural for you to feel good. It is natural for you to feel clarity. It is not natural to feel confusion or to not have enough or to feel lack or blame. These are not natural to the you that is really You. But they seem to be sort of natural to the human patterns that most of you have picked up along your physical trail.» — la voz reparte lo natural y lo adquirido en dos series, con la confusión y la carencia puestas del lado de los patrones recogidos por el camino

«Anytime you have physical discomfort of any kind, whether you call it emotional or physical pain within your body, it always, always means the same thing: “I have a desire that is summoning Energy, but I have a belief that is not allowing, so I’ve created resistance in my body.” The solution, every single time, to the releasing of discomfort or pain is the relaxation and the reaching for the feeling of relief.» — la voz iguala el dolor físico al emocional y les da una sola lectura, deseo que convoca y creencia que no permite

«As you do not allow the Well-Being in, it shows up in shadows in your life that are illnesses in your body, and deprivation of things that you want. Then, over time, you come to believe that that is a reality that has a source somewhere. And then you develop whole bodies of information to protect yourself from the “evil source” that never existed to begin with.» — y explica los cuerpos enteros de saber médico como defensas contra una fuente que declara inexistente

«If you get a diagnosis that is not what you want to hear, the tendency is to say, “Oh my God! How did I get so far away from something I want so much?” And we say that it is not a big thing at all —it is just a series of little things. It is the, “I could choose this thought that feels good, or this thought that does not feel so good, but» — la voz reduce el diagnóstico temido a una serie de cosas pequeñas y no a una grande; la frase se corta en el cambio de plana

«And that is all that it is! So, do not let any place that you are standing frighten you. All it is, is a by-product of some Energy alignment that only gives you stronger clarity about what you want— and, most important, greater sensitivity about whether you are in a receiving mode or locked off from it.» — la voz pide que ningún estado asuste y lo lee como subproducto de una alineación que da claridad sobre lo que se quiere

«Wellness that is being allowed, or the wellness that is being denied, is all about the mind-set, the mood, the attitude, or the practiced thoughts. There is not one exception in any human or beast because you can patch them up again and again, and they will just find another way of reverting back to the natural rhythm of their mind. Treating the body really is about treating the mind. It is all psychosomatic — every bit of it. No exceptions.» — la voz declara psicosomática la enfermedad entera y sin excepción, en humanos y en animales, que es la afirmación más dura del volumen sobre la salud

«So here we are going to make a very bold statement: Any disease could be healed in a matter of days—any disease —if distraction from it could occur and a different vibration dominate— and the healing time is about how much mix-up there is in all of that, for any malady in your physical body was a lot longer in coming than it takes to release it.» — la voz llama audaz a su propia afirmación y la enuncia: cualquier enfermedad podría sanar en días si la distracción y otra vibración dominaran

«Physical pain is just an extension of emotion. It is all the same thing; there are two emotions—one feels good and one feels bad. This means that you are connected to your Energy Stream or you are not allowing your Energy Stream. Illness or pain is just an extension of negative emotion, and when you are no longer feeling any resistance to it, it is a non-issue.» — la voz vuelve a las dos emociones del capítulo 22 y hace del dolor una extensión de la negativa

«Do you have to think specific positive thoughts about your body in order for it to be the way you want it to be? No. But you have to not think the specific negative thoughts. If you could never again think about your body and, instead, just think pleasant thoughts, your body would reclaim its natural place of wellness.» — la voz no pide pensar en positivo sobre el cuerpo sino dejar de pensar en negativo, con lo que bastaría no pensar en él

«You can live comfortably, joyfully, resiliently, and healthfully as long as you have desire that summons life through you. People do not die because they pass through time. They die because they do not allow this arena to stimulate decisions. The only reason people ever die is either because they have stopped making decisions about being here, or they have made decisions about being Non-Physical.» — la voz niega que se muera por el paso del tiempo y adjudica la muerte a haber dejado de decidir estar aquí

«Are we saying that you could reach what you consider to be a prime human physical condition and that you could maintain it for as long as you remain physically focused in this body? The answer is . . . absolutely yes. And it does not mean reaching your prime and then jumping off a cliff the same day either. It means reaching your prime and basking in the deliciousness of that. Now, why is anything other than that the more consistent experience? Because almost everybody is looking around and vibrating in response to what they are seeing. So what is the solution? Look around less. Imagine more.» — la voz afirma posible mantener la plenitud física mientras se esté aquí y da una sola instrucción, mirar menos alrededor e imaginar más

«You could remain in these bodies indefinitely if you would allow your environment to continue to produce new, continuing, lifesummoning, pure, unresisted desire. You could be one who opened your vortex to continually find new things to want, and those desires would continue to summon the Life Force through you. In other words, you are living raucously; you are living joyously; you are living rambunctiously, and you are living passionately . . . and then, from that same framework, you make a conscious decision to make your transition.» — la voz condiciona esa permanencia al deseo nuevo y continuo, y deja la partida como decisión consciente desde la plenitud; el pasaje arranca detrás del corte de chunk que reemite la plana; el troceo parte *life-summoning* por el guion de fin de renglón y span lo devuelve unido.

«The best reason to make your transition into the Non-Physical is not because the physical is miserable. It is because you have a sense of completion in physical—and you are looking for another vantage point. Death is a withdrawal of Consciousness; it is like taking attention from here and putting it there.» — la voz define la muerte como retiro de la consciencia y pone el mejor motivo en el sentido de haber terminado y no en el sufrimiento

«Every death is brought about by the culmination of the vibration of the Being. There is not an exception to that. No one, beast or human, makes their transition into the Non-Physical without it being the vibrational consensus that is within them, so every death is a suicide because every death is self-imposed.» — la afirmación más dura del volumen sobre la muerte, que toda muerte sería suicidio por autoimpuesta y sin excepción, en bestias y en humanos

«You are an eternal Being always projecting from Non-Physical, and sometimes that projection is into a physical personality. When the physical personality is complete for this time, then there is a withdrawal of focus. It is sort of like: Here you sit, and sometimes you go into a movie, and sometimes you come back out of the movie, but you are always the you that went into the movie, whether you are in the movie or not.» — el símil de entrar y salir del cine con que la voz describe la vida física dentro de lo eterno

«something is good, and you do it, it benefits you. If you believe that something is bad, and you do it, it is a very detrimental experience. There is nothing that you can do that is worse for yourself than to do something that you believe is inappropriate, so get clear and happy about whichever choice you make, because it is your contradiction that causes the majority of the contradiction in vibration.» — la regla práctica con que el proceso 21 cierra, que lo peor es hacer lo que uno tiene por indebido; la frase arranca en la plana anterior

«Make a decision about what you want, focus your attention there, and find the feeling-place of it—and you are there instantly. There is no reason for you to suffer or struggle your way to or through anything.» — el cierre del proceso 21, con los tres pasos reunidos y la negativa expresa a que haga falta sufrir o luchar

«There is no condition that you cannot modify into something more, any more than there is any painting that you cannot repaint. There are many limiting thoughts in the human environment that can make it seem that these so-called incurable illnesses or unchangeable conditions cannot not be changed. But we say that they are only “unchangeable” because you believe they are.» — la voz niega que haya condición inmodificable y adjudica a la creencia el rótulo de incurable, con el símil del cuadro que se vuelve a pintar

«Someone asked us recently, “Is there any limitation to the body’s ability to heal?” And we said, None, other than the belief that you hold. And he asked, “Then why aren’t people growing new limbs?” And we said, Because no one believes they can.» — y lleva esa negativa hasta el caso del miembro que no vuelve a crecer, que atribuye a que nadie lo cree posible

«We are asked, “If there is no source of illness, then why are there so many sick people?” It is because they have found lots of excuses to hold themselves in vibrational discord with wellness. They are not letting it in. And when they do not let Well-Being in, the absence of it looks like sickness.» — la voz contesta la objeción del número de enfermos por la falta de permiso y no por una fuente de la enfermedad

«And when enough of them do it, you say, “Oh, there must be a source of sickness. In fact, let us give it a label. Let’s call it cancer. Let’s call it all kinds of terrible things, and let’s imply that it jumps into people’s experience.” And we say that it never jumps into anybody’s experience. It is just that people learn, through trial and error and through banging around with each other, patterns of thought that do not let Well-Being in.» — y explica los nombres de las enfermedades como etiquetas puestas a una ausencia, con la negativa expresa de que salten a nadie

«When you feel bad and are having a difficult time feeling better • When something has happened to you or someone close to you that has knocked you back on your heels (that is, someone died, your lover left you, your dog got run over, and so on) • When it has been necessary for you to deal with a crisis • When you have been diagnosed with a frightening illness • When someone you love has been diagnosed with a frightening illness • When your child, or someone very close to you, is experiencing a trauma or crisis» — los seis casos de uso del proceso 22, el último de la serie, que son los más graves que el volumen nombra: la muerte de alguien, el abandono, la crisis y el diagnóstico temido

«This Moving Up the Emotional Scale Process will be of the most value to you when your Emotional Set-Point is ranging somewhere between: (17) Anger and (22) Fear/Grief/Depression/Despair/Powerlessness» — el rango emocional de este proceso, que arranca en el enojo y llega al extremo bajo de la escala, y es el único así acotado

«Remember, there is no Non-Physical Source of darkness, sickness, confusion, or evil. There is only the Stream of Well-Being, and it is flowing toward you at all times. And unless you are offering resistance of some kind, you are the full receiver of it, and your emotions help you understand to what extent you are allowing or resisting the Stream. In other words, the better you feel, the less you are resisting; the worse you feel, the more you are resisting.» — la voz repite la negativa de fuente para la oscuridad, la enfermedad y el mal, y deja la emoción por medida del permitir; la frase arranca en la plana anterior

«We want to help you understand that Deliberate Creation is really about deliberately achieving an emotional state. For example: • When you do not have enough money, you want more. But we want you to understand that the distance you will be traveling is not the distance between not enough money to enough money, but instead is the distance between a feeling of insecurity to a feeling of security. Once you practice the thought that makes you consistently feel more secure—the money must follow.» — la enmienda mayor de este proceso: lo que se recorre no sería la distancia del poco dinero al mucho sino la de la inseguridad a la seguridad

«When you are sick, you want to be well, but the distance you are traveling is not from sickness to wellness—but from fear to confidence. Once you practice the thoughts that make you feel more confident, the physical improvement must follow. • When you have no mate and want to find one, the distance you are really traveling is from the feeling of being lonely to the feeling of excitement or satisfaction. Once you practice the thoughts that make you feel excitement or anticipation, the perfect mate must follow.» — y los otros dos ejemplos de la misma enmienda, la salud leída como tránsito del miedo a la confianza y la pareja como tránsito de la soledad al entusiasmo

«You may say, I want a new car, but what the Universe is hearing is: I am not happy with my current car. I feel embarrassed by my current car. I feel disappointed that I don’t have a better car. I feel jealous that my neighbor has a much better car. I feel angry that I cannot afford a better car.» — el primero de los tres pares de lo que se dice y lo que el volumen sostiene que se oye, con el coche de ejemplo

«You may say, I want to be well, but what the Universe is hearing is: I’m worried about my body. I’m disappointed with myself. I’m worried about my health. I’m afraid that I will have a bad experience like my mother had. I’m angry that I didn’t take better care of myself.» — el segundo par, la salud, donde las cinco frases son de preocupación y de reproche propio

«You may say, I want to find another job, but what the Universe is hearing is: I’m angry because my employer doesn’t see my value. I feel bored. I feel unhappy with my current salary. I’m frustrated that I can’t make them understand. I’m overwhelmed, with too much to do.» — y el tercero, el trabajo, con las cinco frases que el volumen sostiene que se ofrecen en lugar del deseo

«There is nothing that you or anyone else has ever wanted that exists for any other reason than you think you will feel better in the achieving of it. Once you consciously identify your current state of emotion, it becomes easier for you to understand whether you are choosing thoughts that move you closer to your desired destination or further from your desired destination. If you will make the improved feeling or emotion be your real destination, then anything and everything that you want will quickly follow.» — la voz repite que todo deseo se reduce al de sentirse mejor y hace del sentir el destino mismo del viaje

«The words, or titles, that have been given to these emotions are not absolutely accurate because different people feel different about emotions even when they are using similar words. However, the Universe is not responding to your words; it is responding to your vibrational offering that is accurately and always accompanied by your emotions.» — la voz vuelve a acotar los nombres de la escala y deja el peso en la vibración que acompaña a la emoción, no en la palabra

«So, finding the perfect word to describe the way you feel is not essential to this process, but feeling the emotion is important—and finding ways to improve the feeling is even more important. In other words, this game is strictly about discovering thoughts that give you feelings of relief.» — y reduce el ejercicio entero a hallar pensamientos que den alivio, con lo que la escala queda como instrumento y no como doctrina

«Here is the way we would apply this powerful process: When you are aware that you are feeling some rather strong negative emotion, try to identify what the emotion is. Consciously think about whatever is bothering you until you can pinpoint the emotions that you are feeling.» — el primer paso del proceso 22, identificar la emoción que se está sintiendo antes de intentar moverla

«For example, a woman found herself in a state of tremendous resistance and pain because of the death of her father.» — el caso de la mujer que pierde a su padre, con que el volumen ilustra el ascenso desde el grado más bajo de la escala

«During the days before her father’s death, this woman had barely left his side, but he slipped into unconsciousness during one of the rare times when she was not with him, and he did not awaken again before he died. As she thought about not being there to have just one last conversation, tremendous thoughts of guilt washed through her.» — el detalle del caso, la ausencia en el momento en que el padre pierde la conciencia y la culpa que sigue

«And while she did not consciously recognize the slight improvement in the way the guilt felt, it was a very important vibrational transition for her. And then her thoughts turned to a powerful anger. She focused upon the woman who had been with her father when he had slipped into unconsciousness, and she felt rage that this woman had given her father such a strong dose of medication (for the purpose of making» — la voz lee la culpa como mejora vibratoria sobre la desesperanza aunque ella no lo note, y después la ira como mejora sobre la culpa; la frase se corta en el cambio de plana

«I did everything I could think of doing to help my father, but it wasn’t enough. (Grief) I miss him so much. I can’t stand him being gone. (Grief) How will I be able to soothe my mother? (Despair) Every morning when I awaken, the first awareness that I have is that Daddy is gone. (Grief) I shouldn’t have gone home to shower. (Guilt)» — el arranque de la tanda de frases del caso, cada una con la emoción que el libro le adjudica entre paréntesis; empieza en la pena y pasa a la culpa

«I was there day and night, day and night, and I still didn’t get to say good-bye. (Rage) The woman who was with him knew very well what was happening. (Rage) How would she like it if the shoe was on the other foot and I put her father into a coma? (Revenge) She has seen many people die, and she should have warned me that it was close. (Anger)» — el tramo intermedio de la tanda, donde la rabia, la venganza y el enojo se señalan como escalones que suben respecto de la culpa

«I wish I could have said good-bye. (Disappointment) There are too many details to attend to, and I don’t really feel like doing anything. (Overwhelment) I’ve been neglecting so many things in my life; I need to regroup and get organized. (Overwhelment) The health-care professionals are insensitive to the families of sick and dying people. (Frustration) They’re more concerned about picking up the oxygen tanks than about how I feel. (Irritation) It will be good to spend more time with my own family. (Hopefulness) It will feel good to get back into the swing of things at work. (Positive Expectation)» — el tramo donde la tanda pasa del desencanto y el agobio a la frustración, la irritación y la esperanza; la serie arranca en la plana anterior

«I don’t know if I’ll ever feel the way I felt before, but I know I will feel better in time. (Positive Expectation) There are so many things to do, and so many things that I want to do. (Positive Expectation) I’m so looking forward to smiling and meaning it, and laughing and really feeling it. (Positive Expectation) I appreciate my husband so much. He’s been helpful in so many ways. (Appreciation)» — el tramo de la expectativa positiva, con la reserva dicha dentro de la propia frase, que no sabe si volverá a sentirse como antes

«Remember, you do not have access to emotions that are far from where you are currently vibrating. Although you may spend an entire day beating the drum of the emotion where you are, on the next day, try to establish a different set-point even if it is only a slight improvement.» — la voz repite el límite del rango y admite pasar un día entero en el mismo grado, con la mejora mínima por meta del siguiente

«If the negative emotion you are feeling is slight, you will quickly move up the emotional scale. If the negative emotion you are feeling has begun only recently, you will quickly move up the emotional scale. If you are experiencing something extremely serious, or it is something that you have been living with for many years, it is conceivable that you could spend 22 days moving up this emotional scale, each day deliberately choosing the improved emotion just above the one you are currently feeling. But 22 days from Powerlessness to Empowerment is not a long time at all when you compare it to people you know who have been in a state of Grief, Insecurity, or Powerlessness for many years.» — la voz cifra en veintidós días, uno por grado, el peor caso del ascenso, y lo compara con los años que dice que otros pasan abajo

«Now that you understand that your goal is to reach a better-feeling emotion, it is our expectation that this process will free you from troubling negative emotions that you have been experiencing for years. And as you gently and gradually release the resistance you have unknowingly gathered, you will begin to experience improvements in your life experiences . . . in all troubling areas of your life.» — el cierre del proceso 22 y de la segunda parte del volumen, con el soltar gradual de la resistencia por única vía

«Considering the two extreme ends of this emotional scale, you could ask yourself, Do I feel powerful, or do I feel powerless? While you may not actually be feeling either one of these emotions precisely, you will be able to tell which way your emotional state of being is leaning right now. So, in this example, if your answer is powerless, then shorten the range that you are considering, and ask yourself, Does it feel more like powerlessness or frustration? Still more like powerlessness.» — el método de bisección con que el libro manda localizarse en la escala, por preguntas de a dos términos

«Then shorten the range still further. Does this feel more like powerlessness or worry? As you continue (there is no right or wrong approach to this), eventually you will be able to state with accuracy what you are really feeling about the situation you are addressing.» — y la continuación de ese método hasta dar con la emoción, con la advertencia de que no hay manera correcta de hacerlo

«Once you have found your place on the emotional scale, your work is to try to find thoughts that give you a slight feeling of relief from the emotion you are feeling. A process of talking out loud or writing down your thoughts will give you the best reading of the way you are feeling. As you make statements with the deliberate intention of inducing an emotion that gives you a slight feeling of relief, you will» — el segundo paso del proceso 22, buscar por escrito o en voz alta pensamientos que den un alivio leve; la frase se corta en el cambio de plana

«begin to release resistance, and you will be able to move up the vibrational scale to a place of feeling much better. Remember, an improved feeling means a releasing of resistance, and a releasing of resistance means a greater state of allowing what you really want.» — y la lectura de ese alivio como resistencia soltada y estado de permitir ganado; la frase arranca en la plana anterior

«I appreciate my sisters. We all love our parents, and we love each other. (Appreciation) (Love) All things considered, we have lived, and are living, really wonderful lives. (Appreciation) (Love) Death is a part of life. (Knowledge)» — el tramo de la tanda donde el caso sube de la apreciación al saber, con la muerte declarada parte de la vida

«Since we are really Eternal Beings, there really is no such thing as “death.” (Knowledge) Daddy is not gone, because there’s no such thing as death. (Knowledge) He’s in a place where sadness doesn’t exist. (Knowledge) That is truly a wonderful place to be. (Joy) I love knowing that he’s in a place of utter joy and understanding. (Joy) I so adore this glorious Earth experience. (Joy) I love knowing how all of this fits together. (Joy) I loved having this wonderful man as my father. (Joy) This has all been good. (Joy) This is all good. (Joy)» — y el último tramo, donde la negación de la muerte y la alegría cierran el ascenso de veintidós grados

«Be easy about all of this. You tend to take life so seriously. Life is supposed to be fun, you know.» — la voz abre el cierre del volumen pidiendo ligereza, que es la instrucción con que ha presentado los veintidós procesos

«As we watch you in the creation of your life, we feel only love for you and appreciation for all that you are. You are Leading-Edge creators, sifting through the wonderful contrast of this Leading-Edge environment, and coming to new conclusions that summon the Life Force forward. There are not adequate words to explain the value of that which you are.» — y vuelve a llamar creadores de borde a sus lectores, con la insuficiencia de las palabras declarada una vez más

«It is our powerful desire that you return to your state of selfappreciation. We want you to feel love for your life, for the people of your world, and most of all, for yourself.» — la voz cierra con el amor propio puesto por encima del amor a los demás, que es el orden que el capítulo 20 defendió como egoísmo; el troceo parte *self-appreciation* por el guion de fin de renglón y span lo devuelve unido.

«There is great love here for you. And . . . for now . . . we are complete.» — las dos últimas frases del cuerpo del volumen, con la fórmula de cierre que la voz usa para despedirse; la misma frase de amor aparece también al final del proceso 22

«are. You are ready for this information, right now, and this information is ready for you.» — el cierre del capítulo 6, que declara al lector listo para lo que el volumen ofrece; la frase arranca en la plana anterior

«I want to make more money . . . . . . because I want to buy a new car. . . . because I feel proud of what I’m accomplishing. . . . because there are so many fun places to go and interesting things to do. . . . because it will feel good to pay off some bills.» — la cadena de razones del cuarto rubro del proceso 3, el trabajo, donde el porqué del dinero mezcla lo material con el orgullo del propio logro

«I want to feel a stronger sense of purpose . . . . . . because I want to make a difference. . . . because I love getting ahold of an idea and running with it. . . . because I love the feeling of wanting to go to work. . . . because I love the experience of getting a great new idea.» — y la última cadena del ejercicio, donde el sentido del trabajo queda puesto en la idea que se toma y se lleva adelante

«This process will help you get your juices flowing toward focusing Energy on the four main topics of your personal experience. We would encourage playing this game once a week for a month or so, and then once a month thereafter.» — la cadencia que el libro prescribe para el proceso 3, semanal durante un mes y mensual después

«Do not try to write everything you want regarding each of the four topics. Just write the things that are most immediate in your mind. This relaxed and simple process will cause an increased activation of the things that matter most to you, and you will immediately begin to see evidence of increased activity in circumstances and events that are associated with these topics.» — y la acotación que le pone, escribir solo lo más inmediato y no el inventario entero de lo que se quiere

«Like a magnet, you are attracting thoughts, people, events, lifestyles —everything that you are living. And so, as you see things as they are, you attract more of the same. But as you see things as you would like» — la voz vuelve al símil del imán y opone ver las cosas como son a verlas como se las quiere; la frase se corta en el cambio de plana

«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

«Emotion: The body’s physical, visceral response to the vibrational state of being caused by whatever you are giving your attention to. Emotional Guidance: Awareness of your state of attraction because of the way you feel as you give your attention to different things. Emotional Set-Point: The emotion most often practiced.» — los asientos de emoción, guía emocional y punto de ajuste, donde la emoción queda definida como respuesta física y visceral del cuerpo

«Law of Attraction: The basis of your world, your Universe, and All-That-Is. Things of like vibration are drawn to each other.» — el asiento de la ley que da título al capítulo 6, con la misma fórmula que el cuerpo repite

«Meditation: The state of quieting one’s mind, and therefore stopping any resistant thoughts that would disallow vibrational alignment with one’s Source.» — el asiento de la meditación, definida por lo que detiene y no por lo que produce, igual que en el proceso 6

«Overwhelment: The state of simultaneously focusing upon what you want and your inability to achieve it at the same time.» — el asiento de una de las dos palabras acuñadas que el Preface anuncia, definida por la atención simultánea a lo querido y a la incapacidad de lograrlo

«Vibration: The response of harmony or discord of all things to all things. Vibrational Alignment: Harmony of perspective.» — los asientos del vocabulario vibratorio, donde tres términos distintos reciben la misma definición de una línea; la entrada arranca en la plana anterior

«You: An Eternal Consciousness who perceives from your broader Non-Physical perspective, your physical perspective, and even your cellular perspective.» — el último asiento del glosario, que reparte la percepción del lector en tres perspectivas, la No Física, la física y la celular

«Collective Consciousness: All thoughts that have ever been thought still exist. All who perceive have access to all that is, and» — el asiento del glosario para el término con que la voz se define a sí misma en la introducción de Esther Hicks, definido por la permanencia de todo pensamiento pensado; la entrada se corta en el cambio de plana

«Excited about the clarity and practicality of the translated word from the Beings who call themselves Abraham, Jerry and Esther Hicks began disclosing their amazing Abraham experience to a handful of close business associates in 1986.» — la nota de autores, en tercera persona y sin firma, data en 1986 el comienzo de la difusión y llama palabra traducida a lo que el volumen imprime

«Recognizing the practical results being received by themselves and by those persons who were asking meaningful questions regarding finances, bodily conditions, and relationships . . . and then successfully applying Abraham’s answers to their own situations— Jerry and Esther made a deliberate decision to allow Abraham’s teachings to become available to an ever-widening circle of seekers of answers to how to live a better life.» — y adjudica la decisión de difundir a los resultados prácticos, con las tres materias que la nota nombra, finanzas, condiciones del cuerpo y relaciones

«Using their San Antonio, Texas, Conference Center as their base, Jerry and Esther have traveled to approximately 50 cities a year since 1989, presenting interactive Art of Allowing Workshops to those leaders who gather to participate in this progressive stream of thought. And although worldwide attention has been given to this philosophy of Well-Being by Leading-Edge thinkers and teachers who have, in turn, incorporated many of Abraham’s concepts into their best-selling books, scripts, lectures, and so forth, the primary spread of this material has been from person to person— as individuals begin to discover the value of this form of spiritual practicality in their personal life experiences.» — la nota da la base de operaciones, la cifra anual de ciudades desde 1989 y el nombre de los talleres, y atribuye la difusión sobre todo al trato de persona a persona

«The Hickses have now published more than 600 Abraham-Hicks books, cassettes, CDs, and videos. They may be contacted through their extensive interactive Website at www.abraham-hicks.com or by mail at Abraham-Hicks Publications, P.O. Box 690070, San» — la nota cifra en más de seiscientos los títulos y grabaciones publicados y da el sitio y el domicilio postal; la frase se corta en el cambio de plana

«Kryon Cards: Inspirational Sayings from the Kryon Books, channelled by Lee Carroll» — el catálogo de Hay House al final del volumen, que es el único lugar fuera de la ficha de catalogación donde el verbo del que toma nombre esta raíz se aplica a otro arreglo, y va con su dueño

«Contacting Your Spirit Guide (book-with-CD), by Sylvia Browne Experiencing the Soul, by Eliot Jay Rosen» — el mismo catálogo del editor asienta al lado títulos de guías espirituales y del alma, que es la vecindad editorial en que Hay House coloca el volumen

«We hope you enjoyed this Hay House book. If you’d like to receive a free catalog featuring additional Hay House books and products, or if you’d like information about the Hay Foundation, please contact: Hay House, Inc. P.O. Box 5100 Carlsbad, CA 92018-5100 (760) 431-7695 or (800) 654-5126 (760) 431-6948 (fax) or (800) 650-5115 (fax) www.hayhouse.com® • www.hayfoundation.org» — la página de pedidos del editor, con el domicilio de Carlsbad y la fundación; aparato del editor y no voz de la obra

«Tune in to HayHouseRadio.com for the best in inspirational talk radio featuring top Hay House authors! And, sign up via the Hay House USA Website to receive the Hay House online newsletter and stay informed about what’s going on with your favorite authors. You’ll receive bimonthly announcements about Discounts and Offers, Special Events, Product Highlights, Free Excerpts, Giveaways, and more!» — la última plana del volumen, anuncio de la radio y del boletín del editor; aparato del editor

«Chapter 6: The Law of Attraction, the Most Powerful Law in the Universe • You Get What You Think About, Whether You Want It or Not • When Your Desires and Beliefs Are a Vibrational Match • Rediscover the Art of Allowing Your Natural Well-Being Chapter 7: You Are Standing on the Leading Edge of Thought • If You Can Desire It, the Universe Can Produce It • Without Asking, You Will Receive No Answer • You Are in the Perfect Position to Get There from Here Chapter 8: You Are a Vibrational Transmitter and Receiver • Your Powerful Beliefs Were Once Gentle Thoughts • The Longer You Think Thoughts, the Stronger They Become • Your Attention to It Invites It In» — el tramo del índice que reparte los capítulos 6 a 8 en sus apartados, los que enuncian la ley, el borde del pensamiento y la emisión vibratoria; cada título se repite después al frente de su capítulo

«Chapter 12: Your Emotional Set-Points Are Within Your Control • It Is Impossible to Control Conditions That Others Have Created • “But Whose ‘Truth’ Is the True TRUTH?” • Moods As Indicators of Your Emotional Set-Points Chapter 13: Allow Your Feelings to Be Your Guide • An Empty Feeling Is Telling You Something Important • You Have the Ability to Direct Your Own Thoughts • Your Natural Desires Cannot Be Held Back Chapter 14: Some Things You Knew Before You Arrived • “If I Know So Much, How Come I’m Not Successful?” • “Can I Really Count on the Law of Attraction?» — el tramo del índice de los capítulos 12 a 14, donde varios apartados van formulados como preguntas del lector; cada título se repite después al frente de su capítulo

Imaginación (phantasia) — La voz iguala en poder el observar las cosas como son y el imaginarlas como se quieren, y declara que el universo no distingue entre la vibración de lo vivido y la de lo imaginado; define la preocupación como uso de la imaginación para crear lo que no se quiere; hace de la imaginación el paso que sustituye a la acción lógica siguiente; y funda en ella cuatro de los veintidós procesos, la Caja Mágica de Creación, la Realidad Virtual, el Juego de la Prosperidad —cuyo beneficio declarado es el aumento de la capacidad de imaginar y no el dinero— y Hallar el Sitio del Sentir. A quien dice no saber visualizar le contesta que recordar y visualizar son la misma operación, y llama conjurar a lo segundo.