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Hirschman was suggesting that doubt could be a source not of paralysis and death but of creativity and self-renewal. One of his last books, published when he was about eighty, is called A Propensity to Self-Subversion. In the title essay, Hirschman celebrates skepticism about his own theories and ideas, and he captures not only the insight but also the pleasure, even the joy, that can come from learning that one had it wrong.

Hirschman’s work changes how you see the world. It illuminates yesterday, today, and tomorrow. His categories become your categories.

Hirschman sought, in his early twenties and long before becoming a writer, to “prove Hamlet wrong.” In Shakespeare’s account, Hamlet is immobilized and defeated by doubt. Hirschman was a great believer in doubt—he never doubted it—and he certainly doubted his own convictions. At a conference designed to celebrate the thirtieth anniversary of his first book, who else would take the opportunity to show that one of his own central arguments was wrong

Who else would publish an essay in The American Economic Review exploring the “overproduction of opinionated opinion,” questioning the value of having strong opinions, and emphasizing the importance of doubting one’s opinions and even one’s tastes? Hirschman thought that strong opinions, as such, “might be dangerous to the health of our democracy,” because they are an obstacle to mutual understanding and constructive problem-solving.

The Rhetoric of Reaction (1991) is a study of the reactionary’s tool kit, identifying the standard objections to any and all proposals for reform. The objections are “perversity” (the reform will make the problem even worse), “futility” (the reform will do nothing to solve the problem), and “jeopardy” (the reform will endanger some hard-won social gain). Hirschman shows that these objections are stupefying, mechanical, hyperbolic, and often wrong

He insisted that human history provides “stories, intricate and often nonrepeatable,” which “look more like tricks history has up its sleeve than like social-scientific regularities, not to speak of laws.” He was interested in “the many might-have-beens of history,” including “felicitous and surprising escapes from disaster.

Hirschman was delighted by paradoxes, unintended consequences (especially good ones), the telling detail, inventories of actual practices (rather than big theories), surprises, and improvisation. In his view, “history is nothing if not farfetched.”

He invented the term “possibilism,” meant to draw attention to “the discovery of paths, however narrow, leading to an outcome that appears to be foreclosed on the basis of probabilistic reasoning alone.” In his lifetime, one of many such outcomes was the abrupt collapse of the Soviet Union in 1989, which almost no one anticipated.

Shifting Involvements—a small masterpiece that illuminates the Tea Party, Occupy Wall Street, and protest movements of diverse kinds. Hirschman emphasized that human beings are often choosing between private and public life, and thus between the different forms of happiness that are associated with each of them. He described “pendular motions of collective behavior,” in which people swing from happiness to disappointment in one kind of activity, and then to the other. For example, the disappointments and frustrations of the student rebellions of the late 1960s encouraged a return to private life in the 1970s and 1980s. Rejecting the highly influential idea that the problem of collective action has a kind of invariable, ahistorical “logic,” Hirschman drew attention to the immense importance of history and timing as, in Adelman’s words, “people leave the streets and plazas disenchanted with politics to seek happiness in the shopping malls”—and vice versa.

The Rhetoric of Reaction, written in his mid-seventies, was an outgrowth of the conservative ascendancy of the 1980s, and it speaks directly to our current debates. Hirschman was struck by the routine, stylized, even mechanical character of much conservative thinking—and its close connection, in its rhetoric, to arguments that have been made for hundreds of years. Indeed, conservative rhetoric is the book’s target, perhaps above all in the person of Edmund Burke,

But if The Passions and the Interests was his favorite, and Exit, Voice, and Loyalty his most important, there can be no question about his most characteristic: The Rhetoric of Reaction. The sustained attack on intransigence, the bias in favor of hope, the delight in paradox, the insistence on the creative power of doubt—all these prove a lot of people wrong, not just Hamlet.