What is it about a work of art, even when it is bought and sold in the market, that makes us distinguish it from . . . pure commodities? A work of art is a gift, not a commodity. . . works of art exist simultaneously in two “economies”, a market economy and a gift economy. Only one of these is essential, however: a work of art can survive without the market, but where there is no gift, there is no art.

To be a great teacher, you can't simply be looking at how to earn your income. And with a priest or spiritual leader - there's another relationship that makes those lives what they are. And in each of these cases you'll find elements of gift exchange thriving, and you'll also find a tension around it.

A gift that cannot be given away ceases to be a gift. The spirit of a gift is kept alive by its constant donation.

Science may not be as intimate as the medical profession; nonetheless, it certainly is a community in which ideas are often shared as contributions, not as proprietary things.

Unlike the sale of a commodity, the giving of a gift tends to establish a relationship between the parties involved. When gifts circulate within a group, their commerce leaves a series of interconnected relationships in its wake, and a kind of decentralized cohesiveness emerges.

Uncovering secrets is apocalyptic in the simple sense (the Greek root means ‘an uncovering’). In this case, it lifts the shame covers. It allows articulation to enter where silence once ruled.

Erik Erikson has commented: Potentially creative men like (Bernard) Shaw build the personal fundament of their work during a self-decreed moratorium, during which they often starve themselves, socially, erotically, and, at last but not least, nutritionally, in order to let the grosser weeds die out, and make way for the growth of their inner garden.