By Harold Bloom
Albert Camus's landmark existentialist novel strains the aftermath of a surprising 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 advent from grasp literary pupil Harold Bloom, this new version of full-length serious essays encompasses a chronology, bibliography, and index for simple reference.
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Additional resources for Albert Camus's the Stranger (Bloom's Modern Critical Interpretations)
As, of course, among these things, the leading role is taken by Nature. Thus the book is not written in a language as ﬁltered as the ﬁrst pages may lead one to believe. Only, in fact, the objects already charged with a ﬂagrant human content are carefully neutralized, and for moral reasons (such as the old mother’s cofﬁn, whose screws are described in terms of their shape and the depth they penetrate into the wood). Alongside this we discover, increasingly numerous as the moment of the murder approaches, the most revealing classical metaphors, naming man or infected by his omnipresence: the countryside is “swollen with sunlight,” the evening is “like a melancholy truce,” the rutted road reveals the “shiny ﬂesh” of the tar, the soil is “the color of blood,” the sun is a “blinding rain,” its reﬂection on a shell is “a sword of light,” the day has “cast anchor in an ocean of molten metal”—not to mention the “breathing” of the “lazy” waves, the “somnolent” headland, the sea that “pants” and the “cymbals” of the sun.
In my turn I would refer these to other objects, even those of a lesser size (I would speak of a proud oak, of a vase of noble lines), and the world would become the depository of all my aspirations to greatness, would be both their image and their justiﬁcation, for all eternity. The same would be true of every feeling, and in these incessant exchanges, multiplied to inﬁnity, I could no longer discern the origin of anything. Was majesty to be located ﬁrst within, or around me? The question itself would lose its meaning.
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. ” And what does Nausea offer us? It is evidently concerned with strictly visceral relations with the world, dismissing any effort of description (called futile) in favor of a suspect intimacy, presented moreover as illusory, but which the narrator does not imagine he can avoid yielding to. The important thing, in his eyes, is in fact to yield to it as much as possible, in order to arrive at self-awareness.
Albert Camus's the Stranger (Bloom's Modern Critical Interpretations) by Harold Bloom