Eric Hoffer

"It is the Frenchman's readiness to exaggerate that is at the root of his intellectual lucidity and also of his capacity for acknowledging merit. The English were not afraid to exaggerate in the sixteenth and seventeenth centuries, and they were then not far behind the French in the lucidity of their thinking.... There is hardly a single instance of cultural vigor marked by moderation in expression."

"It has been my experience that there is no substitute for time where thinking is concerned. Why is it so? The answer seems to be that in many cases to think means to be able to allow the mind to stray from the task at hand. The mind must be able to be "elsewhere." This needs time."

"Our doubts about ourselves cannot be banished except by working at that which is the one and only thing we know we ought to do. Other people's assertions cannot silence the howling dirge within us. It is our talents rusting unused within us that secrete the poison of self-doubt into our bloodstream."

"We are ready to die for an opinion but not for a fact: indeed, it is by our readiness to die that we try to prove the factualness of our opinion."

"The impulse to think, to philosophize and spin beauty and brilliance out of mind and soul, is somehow the offspring of resistance — of an effort to overcome an apparently insurmountable obstacle. Hence cultural creativeness is more likely to flourish in an atmosphere of restriction, of an imposed pattern of thought and behavior, than in one of total freedom."

"Actual creativeness is a matter of moments. One has to piece together the minute grains to make a lump. And it is so easy to miss the momentary flashes, it is like sluicing in placer mining. He who lets the flakes float by has nothing to show for his trouble."

"Universities are an example of organizations dominated wholly by intellectuals; yet, outside pure science, they have not been an optimal milieu for the unfolding of creative talents. In neither art, music, literature, technology and social theory, nor planning have the Universities figured as originators or as seedbeds of new talents and energies."

"It is apparently vital that we should be in the dark about ourselves — not to be clear about our intentions, fears, and hopes. There is a stubborn effort in us to set up a compact screen between consciousness and the self."

"To overestimate the originality of one's thoughts is perhaps a less serious defect than being unaware of their newness. There is a more pronounced lack of sensitivity in underestimating (ourselves and others) than in overestimating."

"Good writing, like gold, combines lustrous lucidity with high density. What this means is good writing is packed with hints."

"I have never felt that I had a thought too profound for others to understand. On the contrary, it always seemed to me axiomatic that what was clear to me should be clear and easy to everyone else. This despite the fact that it often took me years to grope my way to an idea.... I can spend days and even months on a single sentence. I do not know how to skip. To think and write with me is like putting brick on brick."

"How rare it is to come across a piece of writing that is unambiguous, unqualified, and also unblurred by understatements or subtleties, and yet at the same time urbane and tolerant. It is a vice of the scientific method when applied to human affairs that it fosters hemming and hawing and a scrupulousness that easily degenerates into obscurity and meaninglessness."

"Flaubert and Nietzsche have emphasized the importance of standing up and walking in the process of thinking. The peripatetics were perhaps motivated by the same awareness. Yet purposeful walking — what we call marching — is an enemy of thought and is used as a powerful instrument for the suppression of independent thought and the inculcation of unquestioned obedience."

"Total innovation is a flight from comparison and also from imitation. Those who discover things for themselves and express them in their own way are not overly bothered by the fact that others have already discovered these things — have even discovered them over and over again — and have expressed what they found in all manner of ways."

"What counts most is holding on. The growth of a train of thought is not a direct forward flow. There is a succession of spurts separated by intervals of stagnation, frustration, and discouragement. If you hold on, there is bound to come a certain clarification. The unessential components drop off and a coherent, lucid whole begins to take shape."

"Originality is not something continuous but something intermittent — a flash of the briefest duration. One must have the time and be watchful (be attuned) to catch the flash and fix it. One must know how to catch and preserve these scant flakes of gold sluiced out of the sand and rocks of everyday life. Originality does not come nugget-size."

"A good sentence is a key. It unlocks the mind of the reader."

"As a full-time longshoreman I am necessarily more a scribbler than a writer. But I am also so by inclination. The writing I can enjoy is the sketching of an idea in a few dozen words — two hundred at most. Elaboration and expansion are for me hard going. An article of several thousand words becomes inevitably a mosaic of ideas — a series of ideas stuck together."

"Some people have no original ideas because they do not think well enough of themselves to consider their ideas worth noticing and developing."

"Disraeli felt that "nothing could compensate his obscure youth, not even a glorious old age." Practically all writers and artists are aware of their destiny and see themselves as actors in a fateful drama. With me, nothing is momentous: obscure youth, glorious old age, fateful coincidences — nothing really matters. I have written a number of good sentences. I have kept free of delusions. I know I am going to die soon."

"I could never figure out — or probably did not take the trouble to figure out — what the great philosophical problems are about. The momentous statements I come across are at best a storm in a teacup. There are quite a number of people who have a vested interest in the stuff, make a noble living out of it, and they conspire with one another to keep it alive."

"In all my life I never competed for fortune, for a woman, or for fame. I learned to write in total isolation. My first work was also my best, and the first thing published. I never belonged to a circle or clique. I did not know I was writing a book until it was written. When my first book was published there was no one near me, an acquaintance let alone a friend, to congratulate me. I have never savored triumph, never won a race."

"America meant freedom and what is freedom? To Hoffer it is the capacity to feel like oneself. He felt like Eric Hoffer; sometimes like Eric Hoffer, working man. It could be said, I believe, that he is the first important American writer, working class born, who remained working class — in his habits, associations, environment. I cannot think of another. Therefore, he was a national resource. The only one of its kind in the nation's possession."

"One is not quite certain that creativeness in the arts, literature, and science functions best in an environment of absolute freedom. Chances are that a relatively mild tyranny stimulates creativeness."

"My writing is done in railroad yards while waiting for a freight, in the fields while waiting for a truck, and at noon after lunch. Towns are too distracting."

"It's disconcerting to realize that businessmen, generals, soldiers, men of action are less corrupted by power than intellectuals... You take a conventional man of action, and he's satisfied if you obey. But not the intellectual. He doesn't want you just to obey. He wants you to get down on your knees and praise the one who makes you love what you hate and hate what you love. In other words, whenever the intellectuals are in power, there's soul-raping going on."

"Our passionate preoccupation with the sky, the stars, and a God somewhere in outer space is a homing impulse. We are drawn back to where we came from."

"Latet enim veritas, sed nihil pretiosius veritate."

"Der Versuch, verbrecherische Taten zu rechtfertigen, hat möglicherweise schlimmere Folgen als die Tat selbst. Verbrechen der Vergangenheit zu rechtfertigen, bedeutet, den Samen für zukünftige Verbrechen zu legen. Tatsächlich ist die Wiederholung eines Verbrechens manchmal Teil der Rechtfertigung: wir begehen es wieder und wieder, um uns selbst und andere davon zu überzeugen, es sei normal und nicht abnorm."