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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.
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]
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 ...
The plot of Le Malentendu resembles the newspaper article that the protagonist of Camus' 1942 novel The Stranger finds under his mattress in his prison cell: it is the story of a man who became rich abroad and comes home to his village where his sister and mother have a hotel. He doesn't reveal his identity (in order to surprise them later ...
Notebooks 1935–1942 (1963) is the first of three translated post-mortem editions of the notebooks of Albert Camus. It was translated and edited by Philip Thody, and published by Knopf, New York. The notebooks include aphorisms and other ideas relating to Camus' literary work, and examine themes such as humanism and revolt.
"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.
Camus told a friend that he "thought a lot about the book" and it was "a very close part of [himself]." In his review, Camus wrote, "the play of the toughest and most lucid mind are at the same time both lavished and squandered." Camus felt that each of the book's chapters, taken by itself, "reaches a kind of perfection in bitterness and truth."