The 'open' mind of the poet and artist can sense realities beyond the reach of our normal senses. The real problem is that our materialistic assumpti… - Colin Wilson

Imagine a book of unexplained mysteries written by a contemporary of Shakespeare. It might include the mystery of the falling stars that sweep through the sky foretelling disaster; the mystery of the Kraken, the giant sea devil with 50-foot tentacles; the mystery of monster bones, sometimes found in caves or on beaches. Such a book would be a curious mixture of truth and absurdity, fact and legend. We would all feel superior as we turned its pages and murmured: "Of course, they didn't know about comets and giant squids and dinosaurs." If this book should happen to find its way into the hands of our remote descendants, they may smile pityingly and say: "It's incredible to think that they knew nothing about epsilon fields or multiple psychic feedback or cross gravitational energies. They didn't even know about the ineluctability of time." But let us hope that such a descendant is in a charitable mood, and might add: "And yet they managed to ask a few of the right questions."

The Outsider wants to cease to be an Outsider. He wants to be ‘balanced'. He would like to achieve a vividness of sense-perception (Lawrence, Van Gogh, Hemingway) He would also like to understand the human soul and its working and, be ‘possessed’ by a Will topower, to more life. (Barbusse and Mitya Karamazov) He would like to escape triviality forever. Above all, he would like to know how to express himself because that is the means by which he can get to know himself and hi unknown possibilities.

The romantics of the 19th century thought that the artist is at war with society, and must be destroyed by it eventually; this is the theme of all of Hoffmann's stories. I suggested -- in The Outsider and the subsequent five books of the 'cycle' -- that the fault lies partly with the artist, for preferring pessimism and self-pity to serious thought, and that the 'outsider' must eventually learn to accept his position as a spiritual leader of society. The church once provided the link between 'outsiders' and society, standing for the world of values, of 'meanings; beyond the present. The artists of the 19th century found themselves without this visible symbol of non-material values, and were, as Hoffmann says, frequently destroyed by society, or by their own destiny of standing outside it. I concluded that they must learn to stand alone, to be twice as strong, for half the problems of our civilization are due to 'the treason of the intellectual', their tendency to opt out and collapse in self-pity.