By Harold Bloom
Albert Camus's landmark existentialist novel lines the aftermath of a surprising crime and the fellow whose destiny is sealed with one rash and foolhardy act. The Stranger offers 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. whole with an creation from grasp literary pupil Harold Bloom, this re-creation of full-length serious essays features a chronology, bibliography, and index for simple reference.
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Extra info for Albert Camus's the Stranger (Bloom's Modern Critical Interpretations)
Should I shout louder? Should I utter different words? I try once again. . Very quickly I realize that no one will answer; but the invisible presence I continue to create by my call obliges me to hurl my wretched cries into the silence forever. Soon the sound they make begins to stupefy me. As though bewitched, I call again . . and again. My solitude, aggravated, is ultimately transmuted into a superior necessity for my alienated consciousness, a promise of my redemption. And I am obliged, if this redemption is to be fulﬁlled, to persist until my death, crying out for nothing.
For if we abandon the moral perspective of self-improvement, Ponge’s le parti pris des choses is no longer of any help to us. And if, in particular, we prefer freedom to wisdom, we are obliged to break all these mirrors so artfully arranged by Francis Ponge in order to get back to the hard, dry objects which are behind them, unbroached, as alien as ever. François Mauriac, who—he said—had once read Ponge’s Hamper on Jean Paulhan’s recommendation, must have remembered very little of this text when he baptized Hamper Technique the description of objects advocated in my own writings.
A path toward a metaphysical Beyond, this pseudo-necessity is at the same time the closed door to a realistic future. Tragedy, if it consoles us today, forbids any solider conquest tomorrow. Under the appearance of a perpetual motion, it actually petriﬁes the universe in a sonorous malediction. There can no longer be any question of seeking some remedy for our misfortune, once tragedy convinces us to love it. We are in the presence of an oblique maneuver of contemporary humanism, which may deceive us.