My rating: 5 of 5 stars
The Stranger or L’Etranger (1946) by Albert Camus (who was awarded the Nobel Prize for Literature in 1957) is translated from the French in my edition of the book by Matthew Ward.
In the preface Ward explains how he differs from Stuart Gilbert’s more Britannic translation/rendering and focused on creating a more ”American” quality and more straightforward approach into realism in order to ”capture what [Camus] said and how he said it, not what he meant [and] in theory, the latter should take care of itself” (p v-vi). Camus, regardless of any linguistic form, dominates in his book (a novella consisting of 123 pages, good for one sitting in the afternoon) a representation of how content is able to shape language.
In the first half of the book (Part One: pages 1-59) the protagonist, an Algerian named Meursault, attends his mother’s funeral, the next day heads to the beach and falls in love with a young woman, Marie, who he beds that same day. Meursault’s journey spirals down into a critical moment when he and his friend and neighbor, Raymond, are confronted by two Arabs on the beach, which ends with Meursault shooting one of them. The second half of the book (Part Two: pages 63-123) focuses on Meursault’s trial and imprisonment.
What is interesting to note is how Camus uses language in both parts of the book. In Part One, Camus uses a more direct and precise recalling of action through a ”tough guy” tone which uses sentences much resemblant of Hemingway.
In the final paragraph of Part One, Camus writes of the shooting:
The trigger gave; I felt the smooth underside of the butt; and there, in that noise, sharp and deafening at the same time, is where it all started, I shook off the sweat and sun. I knew that I had shattered the harmony of the day, the exceptional silence of a beach where I’d been happy. Then I fired four more times at the motionless body where the bullets lodged without leaving a trace. And it was like knocking four quick times on the door of unhappiness (p 59).
Meursault is detached and somewhat more logical than emotional in this act of murder, yet he knows that what he has done cannot be undone and just as his mother has left him at the book’s opening (such Oedipal connotations hidden in this reference) so has his happiness left him by the end of the section. Some writers/readers translate the title as ‘The Outsider’ and this too fits with the themes of the book.
The second part of the book (the arrest and imprisonment leading up to the final execution scene) involves mostly a reflective state of memories and dreams, allowing Camus to employ at his command a roaming through a more lucid lyricism. Here is one such instance:
When I was first imprisoned, the hardest thing was that my thoughts were still those of a free man. For example, I would suddenly have the urge to be on a beach and to walk down to the water. As I imagined the sound of the first waves under my feet, my body entering the water and the sense of relief it would give me, all of a sudden I would feel just how closed in I was to the walls of my cell (p 76).
Notice the free rolling sentences in this passage, unlike the previous example which provides choppy sentences.
Granted, there are themes in this book involving theology and the absurdity of the real, which even Camus would not argue as being ever present in this story. Camus often professed that he was captivated by ”the nakedness of man faced with the absurd.” In many respects, I am not writing an elitist review that is esoteric by nature (I leave that to the New York Times book review writers who end up saying more about what a book means to them rather than what the book is actually about). I write in hopes of sharing a love for books and passion for reading to all individuals, both the wise and common person. With that, I digress.
The ending to The Stranger reminds me of Charles Dickens and A Tale of Two Cities, which in my mind is one of the top endings in all of literature. When Sydney Carton, out of his love for Lucie, takes the place of Darnay (Lucie’s husband) and steps to the guillotine, and as he does he reflects: ”It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to, than I have ever known.”
And like Carton, Meursault heads to his own rest, despite that Meursault’s rest will be one that is a separate peace away from the likes of humankind. In the final lines the book folds into itself and the entire story unfurls into a wonderful, yet twisted, sense of complete understanding: perhaps Meursault is not who we have thought him to be and have, therefore, identified with for so many pages and hours after all; or perhaps he is:
For everything to be consummated, for me to feel less alone, I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate (p 123).
Camus has the reader at his fingertips through each page of the novella and by the end he cuts the puppet strings, detaching the reader’s identification with Meursault and dropping the reader into a truer sense of reality, which involves the raw and chaotic side of human nature.
The Stranger is a strong recommend.
The American novelist CG FEWSTON has been a Visiting Scholar at the American Academy in Rome (Italy), a Visiting Fellow at Hong Kong’s CityU, & he’s a been member of the Hemingway Society, Americans for the Arts, PEN America, Club Med, & the Royal Society of Literature. He’s also a been Fellow of the Royal Society of Arts, Manufactures and Commerce (RSA) based in London.
He’s the author of several short stories and novels. His works include A Father’s Son (2005), The New America: A Collection (2007), The Mystic’s Smile ~ A Play in 3 Acts (2007), Vanity of Vanities (2011), A Time to Love in Tehran (2015), Little Hometown, America (2020); and A Time to Forget in East Berlin (2022).
Forthcoming: Conquergood & the Center of the Intelligible Mystery of Being; and, The Endless Endeavor of Excellence.
He has a B.A. in English, an M.Ed. in Higher Education Leadership (honors), an M.A. in Literature (honors), and an M.F.A. in Creative Writing & Fiction. He was born in Texas in 1979.
You can follow the author on Facebook @ cg.fewston – where he has 470,000+ followers
“Readers of The Catcher in the Rye and similar stories will relish the astute, critical inspection of life that makes Little Hometown, America a compelling snapshot of contemporary American life and culture.”
“Fewston employs a literary device called a ‘frame narrative’ which may be less familiar to some, but allows for a picture-in-picture result (to use a photographic term). Snapshots of stories appear as parts of other stories, with the introductory story serving as a backdrop for a series of shorter stories that lead readers into each, dovetailing and connecting in intricate ways.”
“The American novelist CG FEWSTON tells a satisfying tale, bolstered by psychology and far-ranging philosophy, calling upon Joseph Campbell, J. D. Salinger, the King James Bible, and Othello.”
“In this way, the author lends intellectual heft to a family story, exploring the ‘purity’ of art, the ‘corrupting’ influences of publishing, the solitary artist, and the messy interconnectedness of human relationships.”
GOLD Winner in the 2020 Human Relations Indie Book Awards for Contemporary Realistic Fiction
FINALIST in the SOUTHWEST REGIONAL FICTION category of the 14th Annual National Indie Excellence 2020 Awards (NIEA)
“Fewston’s lyrical, nostalgia-steeped story is told from the perspective of a 40-year-old man gazing back on events from his 1980s Texas childhood…. the narrator movingly conveys and interprets the greater meanings behind childhood memories.”
“The novel’s focus on formative childhood moments is familiar… the narrator’s lived experiences come across as wholly personal, deeply felt, and visceral.”
American Novelist CG FEWSTON
This is my good friend, Nicolasa (Nico) Murillo, CRC, who is a professional chef & a wellness mentor. I’ve known her since childhood & I’m honored to share her story with you. In life, we all have ups & downs, some far more extreme than others. Much like in Canada, in America, the legalization of marijuana has become a national movement, which includes safe & legal access to cannabis (marijuana) for therapeutic use & research for all.
“This is a wellness movement,” Nico explains. The wellness movement is focused on three specific areas: information, encouragement, & accountability.
In these stressful & unprecedented times, it makes good sense to promote & encourage the state or condition of being in good physical & mental health.
The mission of Americans for Safe Access (ASA) is to ensure safe and legal access to cannabis (marijuana) for therapeutic use and research.
TEXANS FOR SAFE ACCESS ~ share the mission of their national organization, Americans for Safe Access (ASA), which is to ensure safe and legal access to cannabis (marijuana) for therapeutic use and research, for all Texans.
Stay safe & stay happy. God bless.
Nico Murillo Bio ~ Americans & Texans for Safe Access ~ Medical Cannabis