wasting
material, and he cannot compromise. Writing ought either to be the
manufacture of stories for which there is a market demand--a
business as safe and commendable as making soap or breakfast
foods--or it should be an art, which is always a search for
something for which there is no market demand, something new and
untried, where the values are intrinsic and have nothing to do with
standardized values. The courage to go on without compromise does
not come to a writer all at once--nor, for that matter, does the
ability. Both are phases of natural development. In the beginning
the artist, like his public, is wedded to old forms, old ideals, and
his vision is blurred by the memory of old delights he would like to
recapture.

_The Borzoi_, 1920

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