By Harold Bloom
Albert Camus's landmark existentialist novel lines the aftermath of a surprising crime and the guy whose destiny is sealed with one rash and foolhardy act. The Stranger provides readers with a brand new type of protagonist, a guy not able to go beyond the tedium and inherent absurdity of daily life in a global detached to the struggles and strivings of its human denizens. entire with an creation from grasp literary pupil Harold Bloom, this re-creation of full-length severe essays features a chronology, bibliography, and index for simple reference.
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Additional resources for Albert Camus's the Stranger (Bloom's Modern Critical Interpretations)
In L’Etranger Camus thus suggests that in the face of the absurd no man can afford passively just to exist. To fail to question the meaning of the spectacle of life is to condemn both ourselves, as individuals, and the whole world to nothingness. R O G E R S H AT T U C K Two Inside Narratives: Billy Budd and L’Etranger L ike two mineral specimens different in color and texture yet remarkably similar in structure, Melville’s last novel and Camus’s ﬁrst seem designed for comparison. A few scholars have remarked the kinship without analyzing it at length.
Under the stress of social and political upheaval lengthily described in the opening chapters, this living unit, this multiple man sacriﬁces one part of himself in order to maintain discipline. The whole pulse of the novel implies that such a sacriﬁce must be lethal. Billy Budd is anything but a “testament of acceptance,” as it has often been described since E. L. G. Watson’s article in 1933. Nor is it (as it has been labelled by an eloquent lecturer for a society working to abolish the institution) the only novel ever written in defense of capital punishment.
Finally the whole book will be true in proportion to its contradictions. It is easy to ridicule. It is less so to free oneself from the tragic conditioning our mental civilization imposes upon us. One might even say that the rejection of the ideas of “nature” and of predestination lead ﬁrst to tragedy. There is no important work in contemporary literature that does not contain at the same time the assertion of our freedom and the “tragic” germ of its abandonment. Two great works at least, in recent decades, have offered us two new forms of the fatal complicity: absurdity and nausea.