We are at our most creative when we have something to push against. Creativity does not require perfect conditions. In fact, it thrives in imperfect ones. The block of marble from which Michelangelo carved his masterpiece, the David, had been discarded by other artists. They considered it defective, and they were right. But Michelangelo saw that defect as a challenge, not a disqualifier.

The ghosts of Michelangelo and Leonardo and Botticelli and all the rest hang in the air, like San Francisco fog. You'd think it would have burned off by now, five hundred years later, but it hasn't. The half-life of true genius is inexhaustible.

We only hire applicants for jobs once we've determined they are a perfect fit. We only assign tasks to those who have already demonstrated they can perform that same exact task. We treat risk not as a noble venture, a dance with the universe, but as something to be avoided at all costs, or at least reduced to a decimal point. And we wonder why we're not living in another renaissance?

A remarkably large number of Renaissance artists were illegitimate, including Alberti and Ghiberti. For them, as for Leonardo, this was both a curse and a blessing. Had he been born "legitimately," Leonardo would likely have followed in his father's footsteps and become a notary or a lawyer. But those professions' guilds refused entry to illegitimate children. Leonardo couldn't become a doctor or a pharmacist, nor could he attend university. By age thirteen, most doors were already closed to him.

Ce sont les mots qu'ils n'ont pas dits qui font les morts si lourds dans leur cercueil. [Montherlant]

Je ne me réveille jamais entier ; des parts de moi restent engluées dans le sommeil.