In his memoir The Devil in France: My Encounter with Him in the Summer of 1940, Lion Feuchtwanger reflects on how the loss of his diary and the vagaries of memory – the tendency to forget important things and remember trivial ones – had the advantage for him as a writer of holding him to "that uncompromising sincerity which is the prerequisite of all literary composition", obliging him to "stick to only those matters which touched [him] spiritually". Not "being cramped by the minutiae of reality ... the loss of my notes will oblige me to give a picture, not a bald photographic record".
He continues:
"Is it presumptuous of me to confess that I am glad of this? Is it presumptuous of me to believe, as a matter of principle, that a photographic, factual account of an experience contributes very little to an understanding of its essential character? It is nevertheless my considered opinion that an experience often changes in physiognomy according to the capacity a person has for experiencing. Yes, I am unalterably convinced that the translation of an experience into words depends more upon the temperament of the man who has lived through it than upon its actual content.
Fewer people are capable of experiencing things than is commonly supposed. The average person is too much under the influence of the evaluations that are commonly made by the people about him. He feels called upon to consider certain things significant or important, other things trifling or unimportant, because 'competent judges' have applied those measures to similar cases. The emotions, quite as much as the conduct of the majority of people, are prescribed now by convention, now by fashion. The plain man can catalogue his experiences only with reference to a few familiar norms, norms that are hammered deeper and deeper into his brain by radio, film, and press, so that his own particular capacity for hearing, seeing, feeling, and evaluating becomes more and more restricted. The plain man's powers of experiencing are slight, the range of his sensations narrow. Occurrences in which he may be directly involved leave him untouched, make no impression upon him, fail to enrich him in any way. Whatever quantity of a liquid one may try to pour into a small pitcher, the pitcher can hold only so much.
A man of imagination has an advantage over other people, in that an actual experience is almost always less intense than his expectations of it. An actual misfortune is almost always less painful to him than his fear of it, just as, of course, his actual experience of joys is almost always less stirring than his hopes and anticipations of them."