In Creative Characters Elisabeth Young-Bruehl (1991) distinguished three foci of the ever growing body of literature devoted to the study of creativity: First, there was the “creative process”—the focus of inquiries into the cognitive components, mental states (spontaneity, independence from convention, and so on), and stages of production that result in a creative work. Next, there was creative ability—not only the raw talent, but the sublimatory and related capacities that support our universal ideal of the creative individual. (Forming a subcategory of this second focus were the environmental conditions—educational, cultural, social, and political—that favor or disfavor the creative impulse.) Finally, there was the “creative personality”—the target of investigations into conscious and unconscious motivation. Indeed, the