By Harold Bloom

ISBN-10: 0791059286

ISBN-13: 9780791059289

Albert Camus's landmark existentialist novel lines the aftermath of a stunning crime and the guy 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 re-creation of full-length severe essays incorporates 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)

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He is then judged to be guilty, but why? The prosecutor, lawyer, and chaplain answer the question in conventional semi-social, semi-religious, Occidental terms, but these officials represent abstract entities and their answers mean nothing to Meursault nor to a simple-minded man like Meursault’s friend, Céleste; quite obviously their explanations do not apply to the case as Camus devised it. But as the tale develops it seems clear that Meursault’s error lies precisely in his estrangement. He acts in a human situation as though human relationships, and therefore responsibilities, do not exist, and before he knows it he is involved in Raymond’s elementary but violent drama.

In effect changed places,” writes Melville just before Billy’s trial. In both books this ambivalent situation arises through the rigid application of a system of justice to a murder that follows a series of fortuitous misdemeanors. Billy, for example, spills soup in Claggart’s path. Two days after his mother’s funeral Meursault goes to a Fernandel movie with his new girlfriend. In each case a lengthy trial scene leading to the death sentence reveals the narrowness and distortion of the “justice” defined respectively by the British Articles of War in 1797 and by the Napoleonic From Texas Studies in Literature and Language 4, no.

We know that the sense of touch constitutes, in everyday life, a much more intimate sensation than that of sight: no one is afraid of contracting a contagious disease merely by looking at a sick man. The sense of smell is even more suspect: it implies a penetration of the body by the alien thing. The domain of sight itself, moreover, involves different qualities of apprehension: a shape, for example, will generally be more certain than a color, which changes with the light, with the background accompanying it, with the subject considering it.

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Albert Camus's the Stranger (Bloom's Modern Critical Interpretations) by Harold Bloom

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