By Patrick McCarthy
Patrick McCarthy analyzes The Stranger, one of the crucial texts of existentialism and twentieth-century literature, within the context of French and French-Algerian background and tradition. McCarthy examines how the paintings undermines conventional thoughts of fiction and explores parallels and contrasts among Camus's paintings and that of Jean-Paul Sartre. offering scholars with an invaluable better half to The Stranger, this moment version incorporates a revised advisor to additional analyzing and a brand new bankruptcy on Camus and the Algerian battle. First variation Hb (1988): 0-521-32958-2 First version Pb (1988): 0-521-33851-4
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Extra info for Camus: The Stranger
One cannot resist drawing the comparison with the primal scream. Another metaphor of totality is the monologue which Meursault conducts in prison. This is depicted as a stream of consciousness that enables him to hold onto an identity even as prison life is driving him towards schizophrenia. But, while he can tell the reader about this monologue, he cannot narrate it and its role is to emphasize the shortcomings of the diary or journal which constitutes The Stranger. At the opposite pole from the cry and the monologue stands an equally impossible solution to the problem of language: silence.
So I keep quiet’ (104). Here again his taciturnity throughout his trial is presented as a protest against the wordiness of the lawyers. Although the narrator of a novel can hardly be silent, he can introduce into his tale the awareness that silence contains authenticity. Meursault does this in the ﬁrst paragraph by the brevity of his sentences and by the absence of subordinate clauses which imply causality and hierarchy. Not surprisingly, Roland Barthes concluded that the language of The Stranger ‘exists as a silence’ (Barthes, Degr´e z´ero, p.
Far from being blithely indifferent, Meursault is still struggling against his mother. Hidden away in The Stranger lies a psychoanalytical novel, where the mother, although dead, continues to strike at her son who strikes back. However, with the introduction of Raymond’s Arab mistress a direct link has been established between the mother and the Arab, and the reader is aware that there is also a political novel in The Stranger. 6 Class and race Many critics would agree that a novel, since it must appear probable to its readers, will mirror the social structures of the outside 38 THE STRANGER world with certain deformations and criticisms.