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What exactly is it you'd like to know? [the book store manager asked]. He had an odd expression, like he was asking her a trick question. [Katherine] thought a minute. What DID she want to know? Why had she taken the trouble to come out in the cold to learn about a woman she'd never heard of until yesterday? She had that feeling she got when she was doing her art and suddenly discovered the missing piece that ties everything together: a tingling in the back of her neck, a crazy buzzed-rush of a feeling that spread through her whole body. She didn't understand the role that Sara Harrison Shea, the ring Gary had given her, or the book he had hidden would play, but she knew that this was important, and that she had to give herself over to it and see where it might lead.

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One should embrace the artist's profession only after recognising in oneself an intense passion for Nature and the disposition to pursue it with a perseverance that nothing can shatter - thirst for neither approval nor financial profit. Do not be discouraged by the censure that might fall upon one's works - one must be armoured with a strong conviction which makes one go straight ahead fearing no obstacle. An unremitting task [_] an unassailable conscience. (From a sketchbook of 1847).

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I was lucky to live in New York when it was dangerous and edgy and cheap enough to play host to young, penniless artists. That was the era of "coffee shops" as they were defined in New York__heap restaurants open round the clock where you could eat for less than it would cost to cook at home. That was the era of ripped jeans and dirty T-shirts, when the kind of people who are impressed by material signs of success were not the people you wanted to know.

EW
Edmund White

City Boy: My Life in New York in the 1960s and 70s

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There is one myth about writers that I have always felt was particularly pernicious and untruthful__he myth of the "lonely writer," the myth that writing is a lonely occupation, involving much suffering because, supposedly, the writer exists in a state of sensitivity which cuts him off, or raises him above, or casts him below the community around him. This is a common cliché, a hangover probably from the romantic period and the idea of the artist as a Sufferer and a Rebel.Probably any of the arts that are not performed in a chorus-line are going to come in for a certain amount of romanticizing, but it seems to me particularly bad to do this to writers and especially fiction writers, because fiction writers engage in the homeliest, and most concrete, and most unromanticizable of all arts. I suppose there have been enough genuinely lonely suffering novelists to make this seem a reasonable myth, but there is every reason to suppose that such cases are the result of less admirable qualities in these writers, qualities which have nothing to do with the vocation of writing itself.

FO
Flannery O'Connor

Mystery and Manners: Occasional Prose