Ernest Hemingway on Knowledge

"Fortunately I have never learned to take the good advice I give myself nor the counsel of my fears."

"Keep your head clear and know how to suffer like a man. Or a fish, he thought."

"Personal columnists ... are jackals and no jackal has been known to live on grass once he had learned about meat — no matter who killed the meat for him."

"The way to learn whether a person is trustworthy is to trust him."

"About morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after."

"That terrible mood of depression of whether it's any good or not is what is known as The Artist's Reward."

"'Happiness in intelligent people is the rarest thing I know.'"

"You make your own luck, Gig. You know what makes a good loser? Practice."

"I learned never to empty the well of my writing, but always to stop when there was still something there in the deep part of the well, and let it refill at night from the springs that fed it."

"You see it's awfully hard to talk or write about your own stuff because if it is any good you yourself know about how good it is — but if you say so yourself you feel like a shit."

"It would be easy for us, if we do not learn to understand the world and appreciate the rights, privileges and duties of al other countries and peoples, to represent in our power the same danger to the world that Fascism did."

"Decadence is a difficult word to use since it has become little more than a term of abuse applied by critics to anything they do not yet understand or which seems to differ from their moral concepts."

"No writer who knows the great writers who did not receive the Prize can accept it other than with humility. There is no need to list these writers. Everyone here may make his own list according to his knowledge and his conscience."

"Poor Faulkner. Does he really think big emotions come from big words? He thinks I don't know the ten-dollar words. I know them all right. But there are older and simpler and better words, and those are the ones I use."

"God knows, people who are paid to have attitudes toward things, professional critics, make me sick; camp-following eunuchs of literature. They won't even whore. They're all virtuous and sterile. And how well meaning and high minded. But they're all camp-followers."

"Then there is the other secret. There isn't any symbolysm . The sea is the sea. The old man is an old man. The boy is a boy and the fish is a fish. The shark are all sharks no better and no worse. All the symbolism that people say is shit. What goes beyond is what you see beyond when you know."

"How little we know of what there is to know. I wish that I were going to live a long time instead of going to die today because I have learned much about life in these four days; more, I think than in all other time. I'd like to be an old man to really know. I wonder if you keep on learning or if there is only a certain amount each man can understand. I thought I knew so many things that I know nothing of. I wish there was more time."

"The hardest thing to do is to write straight honest prose on human beings. First you have to know the subject; then you have to know how to write. Both take a lifetime to learn, and anybody is cheating who takes politics as a way out. All the outs are too easy, and the thing itself is too hard to do."

"There are some things which cannot be learned quickly, and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man's life to know them the little new that each man gets from life is very costly and the only heritage he has to leave."

"It is by riding a bicycle that you learn the contours of a country best, since you have to sweat up the hills and can coast down them. ... Thus you remember them as they actually are, while in a motorcar only a high hill impresses you, and you have no such accurate remembrance of country you have driven through as you gain by riding a bicycle."

"In going where you have to go, and doing what you have to do, and seeing what you have to see, you dull and blunt the instrument you write with. But I would rather have it bent and dulled and know I had to put it on the grindstone again and hammer it into shape and put a whetstone to it, and know that I had something to write about, than to have it bright and shining and nothing to say, or smooth and well oiled in the closet, but unused."

"You got very hungry when you did not eat enough in Paris because all the bakery shops had such good things in windows and people ate outside at tables on the sidewalk so that you saw and smelled the food. When you were skipping meals at a time when you had given up journalism and were writing nothing that anyone in America would buy, explaining at home that you were lunching out with someone, the best place to do it was the Luxembourg gardens... There you could always go into the Luxembourg museum and all the paintings were heightened and clearer and more beautiful if you were belly-empty, hollow-hungry. I learned to understand Cézanne much better and to see truly how he made landscapes when I was hungry."

"A bullfighter can never see the work of art that he is making. He has no chance to correct it as a painter or writer has. He cannot hear it as a musician can. He can only feel it and hear the crowd's reaction to it. When he feels it and knows that it is great it takes hold of him so that nothing else in the world matters. All the time that he is making his work of art he knows that he must keep within the limits of his skill and his knowledge of the animal. Those matadors are called cold who visibly show that they are thinking of this. Antonio was not cold and the public belonged to him now. He looked up at them and let them know, modestly but not humbly, that he knew it and as he circled the ring with the ear in his hand he looked at the different segments of Bilbao, a city that he loved, as they stood up as he passed and was happy that he owned them."