By Harold Bloom
Albert Camus's landmark existentialist novel lines the aftermath of a stunning crime and the fellow whose destiny is sealed with one rash and foolhardy act. The Stranger provides readers with a brand new form of protagonist, a guy not able to go beyond the tedium and inherent absurdity of daily lifestyles in a global detached to the struggles and strivings of its human denizens. entire with an creation from grasp literary pupil Harold Bloom, this new version of full-length serious essays contains a chronology, bibliography, and index for simple reference.
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Extra info for Albert Camus's the Stranger (Bloom's Modern Critical Interpretations)
On the contrary, he tells us about the real sea which “crawls” under a thin green ﬁlm made to “fool” people, he compares the “cold” brightness of the sun to a “judgment without indulgence,” he notices the “happy gurgle” of a fountain, a streetcar seat is for him “a dead donkey” drifting, its red plush “thousands of tiny feet,” the SelfTaught Man’s hand is a “big white worm,” etc. Each object would have to be cited, for all are deliberately presented in this fashion. , until nausea. Without trying to limit the book to this particular point of view (though it is an important one), one can say that existence in it is characterized by the presence of interior distances, and that nausea is man’s unhappy visceral penchant for these distances.
Instead of concluding that there is no one there—which could be a pure and simple observation, dated and localized in space and time—I decide to act as if there were someone there, but someone who, for one reason or another, will not answer. The silence which follows my outcry is henceforth no longer a true silence; it is charged with a content, a meaning, a depth, a 28 ALAIN ROBBE-GRILLET soul—which immediately sends me back to my own. The distance between my cry, to my own ears, and the mute (perhaps deaf ) interlocutor to whom it is addressed becomes an anguish, my hope and my despair, a meaning in my life.
But are we not incited, under these conditions, to accord Roquentin’s melancholy celibacy, his lost love, his “wasted life,” the lugubrious and laughable fate of the Self-Taught Man—all the malediction weighing on the terrestrial world—the status of a superior necessity? Where, then, is freedom? Those who are unwilling to accept this malediction are all the same threatened with the supreme moral condemnation: they will be “ﬁlthy swine,” salauds. Everything happens, then, as if Sartre—who can nonetheless hardly be accused of “essentialism”—had, in this book at least, brought the ideas of nature and of tragedy to their highest point.
Albert Camus's the Stranger (Bloom's Modern Critical Interpretations) by Harold Bloom