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Download Camus: The Stranger by Patrick McCarthy PDF

By Patrick McCarthy

Patrick McCarthy analyzes The Stranger, one of the texts of existentialism and twentieth-century literature, within the context of French and French-Algerian heritage 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. delivering scholars with an invaluable significant other to The Stranger, this moment variation contains a revised advisor to extra studying and a brand new bankruptcy on Camus and the Algerian warfare. First variation Hb (1988): 0-521-32958-2 First variation Pb (1988): 0-521-33851-4

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Extra info for Camus: The Stranger

Sample text

By the end of the chapter he has undergone the sun’s onslaught and must at all costs escape. His departure from the cemetery is presented as a flight – he speaks of ‘my joy when the bus got to the nest of lights of Algiers’ (31) – and marks relief rather than carelessness. A brief analysis of the funeral will reinforce this conclusion. The sequence of events runs from Meursault’s initial desire to look at his mother, through the ideology of society represented by the warden, and on to the meetings with the caretaker and the Arab nurse.

Yet this guilt remains unfocused and in the case of the warden he is not really being reproached with anything. So the reader is left unable to decide what the precise nature of the guilt might be. Examples of his indifference towards his mother’s death abound: not opening the coffin to look at her, not weeping, not remaining after the funeral to meditate at her grave, not knowing how old she was, drinking coffee with milk and smoking during the wake, and the next day going to the cinema and beginning a sexual relationship with Marie.

It is not merely that by its calculated ambiguity The Stranger leaves open the possibility that Meursault’s indifference is sheer carelessness, but that the relationship between mother and the sun is not rendered explicit by the text. The sun remains an image and eludes close definition. However, the view that the mother’s death is crucial to Meursault receives support from the next four chapters. Although the subplots they depict seem to unfold at random, the friendships Meursault strikes up with Salamano and Raymond and the relationship he begins with Marie are reenactments of his dealings with his mother.

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