The modern picture of the artist began to form: The poor, but free spirit, plebeian but aspiring only to be classless, to cut himself forever free from the bonds of the greedy bourgeoisie, to be whatever the fat burghers feared most, to cross the line wherever they drew it, to look at the world in a way they couldn't see, to be high, live low, stay young forever -- in short, to be the bohemian.

What I had to face, the very bitter lesson that everyone who wants to write has got to learn, was that a thing may in itself be the finest piece of writing one has ever done, and yet have absolutely no place in the manuscript one hopes to publish.

Perhaps this is our strange and haunting paradox here in America -- that we are fixed and certain only when we are in movement. At any rate, that is how it seemed to young George Webber, who was never so assured of his purpose as when he was going somewhere on a train. And he never had the sense of home so much as when he felt that he was going there. It was only when he got there that his homelessness began.

The human mind is a fearful instrument of adaptation, and in nothing is this more clearly shown than in its mysterious powers of resilience, self-protection, and self-healing. Unless an event completely shatters the order of one's life, the mind, if it has youth and health and time enough, accepts the inevitable and gets itself ready for the next happening like a grimly dutiful American tourist who, on arriving at a new town, looks around him, takes his bearings, and says, "Well, where do I go from here?

Culture is the arts elevated to a set of beliefs.

[T]he essence of belief is doubt, the essence of reality is questioning. The essence of Time is Flow, not Fix. The essence of faith is the knowledge that all flows and that everything must change. The growing man is Man Alive, and his "philosophy" must grow, must flow, with him. . . . the man too fixed today, unfixed tomorrow - and his body of beliefs is nothing but a series of fixations.

Not even the most powerful organs of the press, including Time, Newsweek, and The New York Times, can discover a new artist or certify his work and make it stick. They can only bring you the scores.