By Harold Bloom
Albert Camus's landmark existentialist novel strains the aftermath of a stunning crime and the guy whose destiny is sealed with one rash and foolhardy act. The Stranger offers readers with a brand new type of protagonist, a guy not able to go beyond the tedium and inherent absurdity of daily life in an international detached to the struggles and strivings of its human denizens. whole with an creation from grasp literary student Harold Bloom, this re-creation of full-length serious essays encompasses a chronology, bibliography, and index for simple reference.
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Extra resources for Albert Camus's the Stranger (Bloom's Modern Critical Interpretations)
It is not an observation of the separation between man and things. It is a lover’s quarrel, which leads to a crime of passion. The world is accused of complicity in a murder. When Sartre writes (in Situations I ) that The Stranger “rejects anthropomorphism,” he is giving us, as the quotations above show, an incomplete view of the work. ” Can we not say, rather, that these metaphors are precisely the explanation of the book? Camus does not reject anthropomorphism, he utilizes it with economy and subtlety in order to give it more weight.
Within the most homogeneous objects as in the least ambiguous situations appears a kind of secret distance. But this is precisely an interior distance, a false distance, which is in reality as wellmarked path, that is, already a reconciliation. Nature, Humanism, Tragedy 29 Everything is contaminated. It seems, though, that the favorite domain of tragedy is the narrative complication, the romanesque. From all mistresses-turned-nuns to all detective-gangsters, by way of all tormented criminals, all pure-souled prostitutes, all the just men constrained by conscience to injustice, all the sadists driven by love, all the madmen pursued by logic, a good “character” in a novel must above all be double.
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