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Considered a classic of 20th-century literature, The Stranger has received critical acclaim for Camus's philosophical outlook, absurdism, syntactic structure, and existentialism (despite Camus's rejection of the label), particularly within its final chapter. [3] Le Monde ranked The Stranger as number one on its 100 Books of the 20th Century. [4]
After the war, he was a celebrity figure and gave many lectures around the world. He married twice but had many extramarital affairs. Camus was politically active; he was part of the left that opposed Joseph Stalin and the Soviet Union because of their totalitarianism. Camus was a moralist and leaned towards anarcho-syndicalism.
Camus was a friend of Sartre, until their falling-out, and wrote several works with existential themes including The Rebel, Summer in Algiers, The Myth of Sisyphus, and The Stranger, the latter being "considered—to what would have been Camus's irritation—the exemplary existentialist novel." [93] Camus, like many others, rejected the ...
This piece is characteristic of existentialism, the prevalent school of thought among the era's literature. It also presents Camus' concept of absurdism, as well as many examples of human choices. The dilemmas faced by Daru are often seen as representing the dilemmas faced by Camus regarding the Algerian crisis and there are many similarities ...
A Happy Death was Camus' first novel and was clearly the precursor to his most famous work, The Stranger, published in 1942. The main character in A Happy Death is named "Patrice Mersault", similar to The Stranger' s "Meursault"; both are French Algerian clerks who kill another man.
These works of fiction cover the whole variety of existentialism, or absurdism, as Camus himself insisted his philosophical ideas be called. The clearest manifestation of the ideals of Camus can be found in the story "La Pierre qui pousse." This story features D'Arrast, who can be seen as a positive hero as opposed to Meursault in The Stranger. [4]
"Active and highly creative, Camus is in the centre of interest in the literary world, even outside of France. Inspired by an authentic moral engagement, he devotes himself with all his being to the great fundamental questions of life, and certainly this aspiration corresponds to the idealistic end for which the Nobel Prize was established.
The play was later the subject of numerous revisions. It is part of what Camus called the "Cycle of the Absurd", together with the novel The Stranger (1942) and the essay The Myth of Sisyphus (1942). [2] A number of critics have reported the piece to be existentialist, though Camus always denied belonging to this philosophy. [3]