This is excellent: “The Power of ‘I Don’t Know'” by Tim Kreider:
Since I am not and never will be anyone who knows enough about anything to be worth listening to on the basis of my expertise, my only possible claim to anyone’s attention is honesty. Unalloyed honesty is the iridium of the information economy — vanishingly rare, and therefore precious. We don’t respect people like Louis C.K. or George Saunders because of their credentials; it’s because they’re among the few people in public life who’ll say anything obviously true — or, at the very least, anything they really mean. We trust that, unlike politicians or their spin doctors, corporate flacks, think-tank flunkies or cable propagandists, they have no agenda beyond the self-evident one of making a living with their work. I have no pretensions to any special knowledge, let alone anything like wisdom; I am just some guy, a PERSON IN WORLD looking around and noticing things and saying what I think. If what I say doesn’t reflect your own experience, it’s possible that it isn’t about you. It’s also possible that something that’s not About You might still be of some interest or use. There is even some remote possibility that I am oversimplifying, missing something obvious, or just speaking ex rectum.
I’ve lately been rereading Montaigne, generally considered the first essayist, inspired by Sarah Bakewell’s literary biography “How to Live.” Ms. Bakewell singles out the end of one passage in which Montaigne suggests that being self-aware of your own silliness and vanity at least puts you one up on those who aren’t, then shrugs, “But I don’t know.” It’s that implicit I don’t know at the heart of Montaigne’s essays — his frankness about being a foolish, flawed and biased human being — that she thinks has endeared him to centuries of readers and exasperated more plodding, systematic philosophers.
My least favorite parts of my own writing, the ones that make me cringe to reread, are the parts where I catch myself trying to smush the unwieldy mess of real life into some neatly-shaped conclusion, the sort of thesis statement you were obliged to tack on to essays in high school or the Joycean epiphanies that are de rigueur in apprentice fiction — whenever, in other words, I try to sound like I know what I’m talking about. Real life, in my experience, is not rife with epiphanies, let alone lessons; what little we learn tends to come exactly too late, gets contradicted by the next blunder, or is immediately forgotten and has to be learned all over again. More and more, the only things that seem to me worth writing about are the ones I don’t understand. Sometimes the most honest and helpful thing a writer can do is to acknowledge that some problems are insoluble, that life is hard and there aren’t going to be any answers, that he’s just as screwed-up and clueless as the rest of us. Or I don’t know, maybe it’s just me.