Malcolm Gladwell's Review of Worldly Philosopher: The Odyssey of Albert O. Hirschman by Jeremy Adelman:
"Creativity always comes as a surprise to us; therefore we can never count on it and we dare not believe in it until it has happened. In other words, we would not consciously engage upon tasks whose success clearly requires that creativity be forthcoming. Hence, the only way in which we can bring our creative resources fully into play is by misjudging the nature of the task, by presenting it to ourselves as more routine, simple, undemanding of genuine creativity than it will turn out to be."
And from there Hirschman’s analysis took flight. People don’t seek out challenges, he went on. They are “apt to take on and plunge into new tasks because of the erroneously presumed absence of a challenge—because the task looks easier and more manageable than it will turn out to be.” This was the Hiding Hand principle—a play on Adam Smith’s Invisible Hand. The entrepreneur takes risks but does not see himself as a risk-taker, because he operates under the useful delusion that what he’s attempting is not risky. Then, trapped in mid-mountain, people discover the truth—and, because it is too late to turn back, they’re forced to finish the job.
"We have ended up here with an economic argument strikingly paralleling Christianity’s oft expressed preference for the repentant sinner over the righteous man who never strays from the path,” Hirschman wrote in this essay from 1967. Success grew from failure:
And essentially the same idea, even though formulated, as one might expect, in a vastly different spirit, is found in Nietzsche’s famous maxim, “That which does not destroy me, makes me stronger.” This sentence admirably epitomizes several of the histories of economic development projects in recent decades.
As was nearly always the case with Hirschman’s writing, he made his argument without mathematical formulas or complex models. His subject was economics, but his spirit was literary. He drew on Brecht, Kafka, Freud, Flaubert, La Rochefoucauld, Montesquieu, Montaigne, and Machiavelli, not to mention Homer—he had committed huge sections of the Odyssey to memory. The pleasure of reading Hirschman comes not only from the originality of his conclusions but also from the delightfully idiosyncratic path he took to them. Consider this, from the same essay (and, remember, this is an economist who’s writing):
"Creativity always comes as a surprise to us; therefore we can never count on it and we dare not believe in it until it has happened. In other words, we would not consciously engage upon tasks whose success clearly requires that creativity be forthcoming. Hence, the only way in which we can bring our creative resources fully into play is by misjudging the nature of the task, by presenting it to ourselves as more routine, simple, undemanding of genuine creativity than it will turn out to be."
And from there Hirschman’s analysis took flight. People don’t seek out challenges, he went on. They are “apt to take on and plunge into new tasks because of the erroneously presumed absence of a challenge—because the task looks easier and more manageable than it will turn out to be.” This was the Hiding Hand principle—a play on Adam Smith’s Invisible Hand. The entrepreneur takes risks but does not see himself as a risk-taker, because he operates under the useful delusion that what he’s attempting is not risky. Then, trapped in mid-mountain, people discover the truth—and, because it is too late to turn back, they’re forced to finish the job.
"We have ended up here with an economic argument strikingly paralleling Christianity’s oft expressed preference for the repentant sinner over the righteous man who never strays from the path,” Hirschman wrote in this essay from 1967. Success grew from failure:
And essentially the same idea, even though formulated, as one might expect, in a vastly different spirit, is found in Nietzsche’s famous maxim, “That which does not destroy me, makes me stronger.” This sentence admirably epitomizes several of the histories of economic development projects in recent decades.
As was nearly always the case with Hirschman’s writing, he made his argument without mathematical formulas or complex models. His subject was economics, but his spirit was literary. He drew on Brecht, Kafka, Freud, Flaubert, La Rochefoucauld, Montesquieu, Montaigne, and Machiavelli, not to mention Homer—he had committed huge sections of the Odyssey to memory. The pleasure of reading Hirschman comes not only from the originality of his conclusions but also from the delightfully idiosyncratic path he took to them. Consider this, from the same essay (and, remember, this is an economist who’s writing):
While we are rather willing and even eager and relieved to agree with a historian’s finding that we stumbled into the more shameful events of history, such as war, we are correspondingly unwilling to concede—in fact we find it intolerable to imagine—that our more lofty achievements, such as economic, social or political progress, could have come about by stumbling rather than through careful planning. . . . Language itself conspires toward this sort of asymmetry: we fall into error, but do not usually speak of falling into truth.
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