"From the time Cézanne first left Aix, at the age of twenty-two, Louis-Auguste [Cézanne's father] paid his bills, even when Cézanne gave every indication of being nothing more than a failed dilettante. But for Zola, Cézanne would have remained an unhappy banker's son in Provence; but for Pissarro, he would never have learned how to paint; but for Vollard (at the urging of Pissarro, Renoir, Degas, and Monet), his canvases would have rotted away in some attic; and, but for his father, Cézanne's long apprenticeship would have been a financial impossibility. That is an extraordinary list of patrons. The first three—Zola, Pissarro, and Vollard—would have been famous even if Cézanne never existed, and the fourth was an unusually gifted entrepreneur who left Cézanne four hundred thousand francs when he died. Cézanne didn't just have help. He had a dream team in his corner. This is the final lesson...success is highly contingent on the efforts of others."
"In Formal Theories of Mass Behaviour, William McPhee notes that a disproportionate share of the audience for a hit is made up of people who consume few products of that type. A lot of the people who read a bestselling novel, for example, do not read much other fiction. By contrast, the audience for an obscure novel is largely composed of people who read a lot. That means the least popular books are judged by people who have the highest standards, while the most popular are judged by people who literally do not know any better. An American who read just one book this year was disproportionately likely to have read The Lost Symbol, by Dan Brown. He almost certainly liked it."