turning out everything from tiny saucers to gigantic platters and Yases.
From the beginning her things made a hit in the local art stores and galleries. Each piece, of course, was an "original" and a purchaser knew that there wasn't, couldn't be, a duplicate anywhere.
Since sales were limited only by her production, Laurie upped prices and upped them again. She refused to allow any inferior work to be displayed no matter how large the demand for anything she turned out. If a piece wasn't beautifully artistic, delicate and soul-satisfying in its unique qualities, Laurie destroyed it.
As her work became more widely known, she began to display it in Sante Fe, seventy-five miles to the south and also known as an -art colony.
Unfortunately, the Garels broke up after a few years in Taos, and the last we heard of Laurie she had gone to Los Angeles. However, she had no intentions of taking up life in a factory or •office. She opened a ceramics shop right in the Farmer's Market in Hollywood and when last I heard of her, was making a tremendous success of it, working only a few hours a day—those days when she feels like it.
Frankly, though, I have a sneaking suspicion that I'll be seeing Laurie again one of these days, in one of the art colonies. Her soul is too free ever to be happy in a big city, no matter how much money she is making and no matter how few working hours a week she must put in.
 
Next:  Chapter 7 - In Your Own Home Town