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Loading... The Strangerby Albert Camus
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will love Sign up for LibraryThing to find out whether you'll like this book. Plot Synopsis Meursault tells readers about the time right before and the time right after he murdered an Arab on a beach. My Thoughts Meursault has to be the most emotionally detached main character I've ever read that wasn't autistic or in some other way mentally Other. And this complete lack of feeling for other people or even the world in general, made it practically impossible for me to identify with him or like him. Unfortunately, I am a character-driven reader. A plot can be relatively mundane and dull, but if the characters are complex, dynamic (meaning they "grow" during the story), and interesting, I'll still love the book. This is not the case with The Stranger. Fortunately, however, after characters my second point of interest in reading is philosophy and theme, and Camus is certainly no stranger to philosophical discussions as the basis for his writings. Meursault, while in my opinion completely ridiculous, does offer readers a look into the life of a man who believes unflinchingly that life is something that is happening to him. When his recently acquired girlfriend, Marie, suggests the two get married, Meursault explains to her "that it didn't really matter and that if she wanted to, [they] could get married". He doesn't care one way or another; he'll just go with whatever life throws at him. The death of his mother gets as little emotional attention as the proposed marriage. He can't even fake emotion, and eventually it is this inability that is both his downfall and his transcendence. Philosophically this text is packed with items for contemplation. For me, Meursault's only saving grace (which still didn't make me particularly like him) is his refusal to contradict his own personality and belief system. Even when his very life hangs in the balance, he doesn't budge an inch. He will not pretend to a belief in God, Justice, or Remorse. This is admirable to me. Camus' writing is quite simplistic (or at least the translator's is), and I don't mean this is a negative way, just descriptive. The sentences are short and generally follow the conventional structure of subject-verb (predicate). The events and the telling of these events are straightforward and clean-cut. No flowery prose detracts from what is essentially part of the theme of the book itself: meaninglessness (absurdism) and the creation of meaning by the individual (existentialism). I disagree with the philosophy of this novel completely..I find it juvenile..BUT it's written so well that I don't care. Very thought provoking as far as person responsibility, the justice system, absurdity, and meaning. This is not a good choice for audio. First off, it was four discs but only took up about two and a half (the rest was some talk on existentialism I didn't listen to), meaning that George Guidall said "the end" almost two hours before I was expecting him to. Luckily, I had a paper copy so I reread the last few pivotal pages of the story. I could sum up the story but that's not really the point. There's a guy and a murder and lots of absurdity. By and large I think I enjoyed it, though it was quite slow to start. I probably would have appreciated it more as a student, with a teacher there to tell me when to pay attention. Perhaps I'll read it again someday. An interesting quick read. Very thought provoking.
It is quite a trick to write of life & death, as Camus does, in terms of an almost total social and moral vacuum. He may get philosophical satisfaction from it. Most readers will call it philosophic doodling. "The Stranger,” a novel of crime and punishment by Albert Camus, published today, should touch off in this country a renewed burst of discussion about the young French writers who are at the moment making more unusual literary news than the writers of any other country.
Amazon.com (ISBN 0679720200, Paperback)The Stranger is not merely one of the most widely read novels of the 20th century, but one of the books likely to outlive it. Written in 1946, Camus's compelling and troubling tale of a disaffected, apparently amoral young man has earned a durable popularity (and remains a staple of U.S. high school literature courses) in part because it reveals so vividly the anxieties of its time. Alienation, the fear of anonymity, spiritual doubt--all could have been given a purely modern inflection in the hands of a lesser talent than Camus, who won the Nobel Prize in 1957 and was noted for his existentialist aesthetic. The remarkable trick of The Stranger, however, is that it's not mired in period philosophy.The plot is simple. A young Algerian, Meursault, afflicted with a sort of aimless inertia, becomes embroiled in the petty intrigues of a local pimp and, somewhat inexplicably, ends up killing a man. Once he's imprisoned and eventually brought to trial, his crime, it becomes apparent, is not so much the arguably defensible murder he has committed as it is his deficient character. The trial's proceedings are absurd, a parsing of incidental trivialities--that Meursault, for instance, seemed unmoved by his own mother's death and then attended a comic movie the evening after her funeral are two ostensibly damning facts--so that the eventual sentence the jury issues is both ridiculous and inevitable. Meursault remains a cipher nearly to the story's end--dispassionate, clinical, disengaged from his own emotions. "She wanted to know if I loved her," he says of his girlfriend. "I answered the same way I had the last time, that it didn't mean anything but that I probably didn't." There's a latent ominousness in such observations, a sense that devotion is nothing more than self-delusion. It's undoubtedly true that Meursault exhibits an extreme of resignation; however, his confrontation with "the gentle indifference of the world" remains as compelling as it was when Camus first recounted it. --Ben Guterson (retrieved from Amazon Fri, 24 Apr 2009 07:57:55 -0400) The first test round has been closed. Visit the Open Shelves Classification group for details. |
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Albert Camus set this book in his birthplace of Algiers in the old French colony of Algeria. His existentialist beliefs are reflected through the life of Meursault. Although the diversity of positions associated with existentialism precludes a precise definition, certain themes are common to virtually all existentialist writers: the stress on concrete individual existence and, consequently, on subjectivity, individual freedom, and choice.
Meursault and his friends get into a fight with a group of Arabs on a day out at the beach. Later, Meursault accidentally kills one of them, is tried by the Courts and sentenced to death on the Guillotine "in the name of the French people".
Initially, Meursault recieves a telegraph informing him of his mother’s death. The news has little emotional effect on him, he sees the funeral as an inconvenience because he must miss work. He believes death is inevitable, so there is no need to grieve. It is rare that Meursault describes his feelings but when he does they tend to be physical sensations rather than inner emotions. Meursault is greatly sensitive to the sun and on the day of his mothers funeral its heat, brightness and intensity occupy his thoughts.
Meursault gives a detailed account of his trial. Under questioning, he refuses to cover up the deed with a lie or show remorse he does not feel. He maintains an everyday antipathy to religion, even under sentence of death, and so questions what traditionalists hold to be morally correct.
The reasons for the killing are barely touched on but Meursault is greatly condemned for the 'heartless' way he behaved at his mother's funeral. He is punished for being an 'outsider' and this in turn provides the Court with enough evidence to pronounce him guilty of murder. The judgment is based more on his lack of remorse than with reference to the actual events.
This is a very powerful novel, not one word wasted. Camus’ skill as a writer is demonstrated in the way the novel manages to accomplish its aim in such a short and easy to digest length. The outsider is condemned because he is different not because he is wrong.
Classic Fiction Novel
First published in French as 'L'etranger' in 1942. (