The introduction argues that creative-economy frameworks incorporate ideas bearing a literary provenance: that the best work expresses the interiority of talented individuals; that the creative realm is a space of pure introspection unbounded by necessity; and that people serious about their work will be motivated by internal directives to which profit is irrelevant. It argues, moreover, that when writers mark their own distance from art's instrumental applications they find particularly rich material because readers of literature are themselves inclined to disavow instrumental goals as secondary to immaterial goods like self-knowledge, authenticity, originality, and happiness. Literature's anti-instrumental and self-critical gestures are marketable because they exemplify and model larger cultural mores.
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