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184 pages, Paperback
First published January 1, 1950
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About the author
Albert Camus
938?books35k?followersWorks, such as the novels
The Stranger
(1942) and
The Plague
(1947), of Algerian-born French writer and philosopher Albert Camus concern the absurdity of the human condition; he won the Nobel Prize of 1957 for literature.
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calder¨®n de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" R¨¦volte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'?tranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese °¢¶û±´¡¤¼ÓçÑ
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calder¨®n de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" R¨¦volte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'?tranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese °¢¶û±´¡¤¼ÓçÑ
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July 21, 2016
The stories explore common themes of existence, freedom, dilemma of a stranger; the vexation between solitude and togetherness, exile and repatriate, silence and noise. The protagonists of all the stories are exiled and feel inner conflict on these themes- Daru in The Guest faces the dilemma to choose between his loyalty to homeland or the place he's residing, Yvars in The Mute to choose between his resignation to demands of the firm or demand of rights as a worker.
All the stories are set in beautiful but cruel landscapes- the sea and sun of Algeria, its hostile desert plateaus, lonely plains, the dense forests, the river and red dust- which are evoked such with powerful and lyrical prose that these landscapes seem to possess power to seduce anyone with their ironic beauty.
The adulterous wife Janine, felts outrage against the Arabs, who she regards inferior with their culture alien to her:
...on the dry earth of this measureless land scraped to the bone, a few men ceaselessly made their way, possessing nothing but serving no one, the destitute and free lords of a strange kingdom
Janine feels the existential dilemma, for it occurs to her that she exists for her husband and her own existence may not be real, perhaps she is not essentially existing, the absurdness of human existence surrounds her, she accepts demands of her husband unwillingly as it may take lot of her energy to deny him, however, it gives her joy that she is needed by her husband, perhaps this knowledge gives a compensatory justification to her existence in chilly reality of life.
The settings of the story The Renegade reminds me of Samuel Beckett's trilogy - Malone dies and The Unnamable- (probably because I recently read them, perhaps because the protagonist of the trilogy is in similar settings, mainly because of the fact that it's a monologue as The Unnamable is), it's about a man who came to the salt city of Taghasa to convert its people but who is himself captured and mutilated by Fetish and lives in his imprisonment, he thinks over how to change his situation and feels that absolute power is required to get control over life. He gradually comes to conclusion that evil is best virtue to have by a man and in the end fully absorbed by it.
The rifle, quick, and I load it quickly. O fetish, my god down there, amy your power be sustained, may the offence be multiplied, may hatred reign mercilessly over a world of the damned, may the wicked be master forever, may kingdom come at last where in a single city of salt and iron black tyrants will enslave and possess without pity! And now gha gha, fire on pity, fire on powerlessness and its charity, fire on all that delays the coming evil, fire twice, and the they go toppling over, falling, and, the camels flee straight toward horizon where a geyser of black bird has just risen in the unchanged sky.
After killing, the protagonist regrets over his situation as he becomes one of those whom he kills, it shows his anguish over absurdness of life as people always regret over their acts even when they very well know at their heart that it won't change anything, which shows absurdness of our life.
In The Mute, the protagonist, Yvars, fails to come out of his passivity towards his demands as a worker and feels that he along with his colleagues should rise above their resignation to claim their rights and respect as workers, the news of heart-attack of boss's daughter throw him in absurd situation, for he feels anguish over his inaction towards rights as a worker, he feels existential dilemma for his inaction, for he very well understands he has to act, make a choice but he's not.
The Guest perfectly depicts the theme- exile- which is also title of the book, the plateau based Daru watches two visitors approaching towards him, thinks of the destitute families of his Arab students, he distributes ration to them
The country was like that, a cruel place to live, even without the men, who didn't help matters. But Daru had been born here. Anywhere else, he felt exiled.
In the current situation he hosts an Arab prisoner, his apparently 'guest', but actually Daru is true guest is this country, he received good hospitality in this country, for which he decides not to move in his 'prisoner-guest' however eventually he finds himself rejected by both rebellious Arabs and colonial Frenchmen, he takes neutral stance over the conflict but he's been exiled in this country and founds himself in existential conflict between his loyalty to his native land or birth land.
"Jonas: The Artist at Work" is the story about Jonas, an artist, who struggles to live up to his reputation as a painter, he faces the dilemma to continue his legacy as it pings him that he has nothing more to paint, he's now only shadow of himself and may not be existing anymore.
'An artist who's on the way out is finished. Look, he has nothing to paint anymore. Now they're painting him and they'll hang him on the wall'.
However, soon this chilling reality occurs to him that perhaps artists themselves never exist, for they need references (which may be played by other people) to ascertain their existence, their being is not in it true self.
'But many artists are like that. They're not sure they exist, even the greatest. So they look for proof, they judge, they condemn. It bolsters them, it's the beginning of existence. They're so alone!'
He continues to spend his days in exile which he creates in his own house, for his house is always filled with unwanted visitors and he feels dilemma over his commitment to art or to society:
He was like those men who die at home alone in their sleep, and when morning comes the telephone rings and keeps ringing, urgent and insistent, in the deserted house, over a corpse forever deaf. But he was alive, he was listening to this silence within himself, he was waiting for his star, still hidden but ready to rise again, to emerge at last, unchanged, above the disorder of these empty days. 'Shine, shine,' he would say.
After being in seclusion for many days, he comes to the realization that all this dilemma, anguish is absurd and futile, for this exile doesn't bring any good to his art, the liveliness of life can only be felt by living, and perhaps his last painting also indicates the same.
He told himself that now he would never work again, he was happy. He heard his children shouting, the water running, the dishes clinking. Louise was talking. The huge windows rattled as a truck passes on the boulevard. The world was still there, young, lovable: Jonas listened to the lovely murmur of humanity. From so far away it did not conflict with that joyful strength in him, his art, those thoughts that he could never express but that set him above all things, in an atmosphere that was free and alive.
The last story 'The Growing Stone' is about an engineer D'Arrast who visits Iguape, a town in Brazil, for construction of a bridge. He readily gets mingle with people in administration of the town, he is beguiled by the natural beauty of the town and the seductive vitality of its people- embodied by a young black girl. However, the protagonist chooses to be a voluntary exile but did not earn faith of common people instantaneously.
The truth is, he had not stopped waiting since he had arrived in this country a month before. he was waiting-in the red heat of humid days, under the tiny stars at night, despite his tasks, the dams to build, the road to cut through- as if work he had come here to do were merely a pretext, the occasion for a surprise or an encounter he could not even imagine, but which had been waiting ofr him, patiently, at the end of the world.
Eventually by honoring a poor native who has undertaken a Sisyphean task that he is able to honor himself. He also experiences moments of happy belonging however in this happiness, he too betrays his own people as Janine in 'The Adulterous Woman' does.
All these stories, filled with intensely powerful lyrical prose, explore - what does it mean to be, the dilemma between individual and the community, longing and belonging, speech and silence is explored and imagined throughout the book but not realized, which underlines the absurdness of life to make a choice, absurdness that though we always have different choices at our manifold but we seldom act.
March 20, 2023
¡°All¨¢, m¨¢s al sur todav¨ªa, en aquel punto en que el cielo y la tierra se juntaban en una l¨ªnea pura, all¨¢, le parec¨ªa de pronto que algo la esperara, algo que ella hab¨ªa ignorado hasta ese d¨ªa y que sin embargo no hab¨ªa dejado de faltarle¡±Este extra?amiento del mundo, este sentimiento de soledad existencial, este exilio permanente que sienten los personajes de Camus en su existir es el hilo que une estos seis cuentos que para m¨ª empezaron de forma sublime con ¡°La mujer ad¨²ltera¡± ¡
¡°?Hay otro amor que no sea el de las tinieblas, un amor que grite a plena luz?¡±¡ para continuar con un mon¨®logo delirante que bien pudiera haber inspirado a Gabo el estilo de El oto?o del patriarca en ¡°El renegado o un esp¨ªritu confuso¡±, ¡
¡°¡ el bien es un sue?o, un proyecto sin cesar remitido y seguido de un esfuerzo extenuante, un l¨ªmite que jam¨¢s se alcanza, su reino es imposible. Solo el mal puede ir hasta sus l¨ªmites y reinar absolutamente.¡±¡ y que despu¨¦s de un par de cuentos que no me dijeron mucho, como tampoco lo hizo el que cierra el sexteto, me divirti¨® mucho la visi¨®n humor¨ªstica del mundo ruidoso, caprichoso, interesado y cruel que rodea a un artista que retrata en su ¡°Jon¨¢s o el artista trabajando¡±.
¡°Los disc¨ªpulos de Jonas le explicaban largarmente lo que ¨¦l hab¨ªa pintado y por qu¨¦ lo hab¨ªa pintado. Jonas ven¨ªa a descubrir as¨ª en su obra muchas intenciones que le sorprend¨ªan un poco y una multitud de cosas que no hab¨ªa puesto en la tela. Se cre¨ªa pobre y, gracias a sus alumnos, se encontraba de pronto rico. A veces, frente a tantas riquezas hasta entonces desconocidas, lo asaltaba una pizca de orgullo.¡±Solo por estos tres relatos que menciono, ganas me dan de otorgarle una estrellita m¨¢s, pero estoy atravesando una fase taca?a, ya la pasar¨¦.
August 8, 2014
This World is man¡¯s place of Exile and yet it is the only Kingdom he knows.*
So while man finds this world an absurd place to live in, a place indifferent to his existence and as cruel as the harsh Sun, where the agony sprawls over like an endless hot desert and the despair is as unbearable as the Algerian heat, man continuously strives to make the best of it, to find a meaning through revolt,freedom and passion.
Exile and The Kingdom, published in 1958 is Camus¡¯ last completely published work before his untimely death in 1960. It is a collection of six short stories by the Nobel Laureate.
A piece of advice before embarking on the reading of this collection: Do read his major works including The Stranger, The Myth of Sisyphus, The Fall and The Plague. For, if one is not aware of Camus¡¯ ideas as expressed in these works, it is very likely that one may miss out the core of this collection. Here Camus, in each story and in a very subtle way, builds upon characters in accordance with his ideas.
Since the beginning of time, on the dry earth of this limitless land scraped to the bone, a few men had been ceaselessly trudging, possessing nothing but serving no one, poverty- stricken but free lords of a strange kingdom. Janine did not know why this thought filled her with such a sweet, vast melancholy that it closed her eyes. She knew that this kingdom had been eternally promised her and yet that it would never be hers, never again, except in this fleeting moment perhaps when she opened her eyes again on the suddenly motionless sky and on its waves of steady light, while the voices rising from the Arab town suddenly fell silent. It seemed to her that the world¡¯s course had just stopped and that, from that moment on, no one would ever age any more or die. Everywhere, henceforth, life was suspended¡ªexcept in her heart, where, at the same moment, someone was weeping with affliction and wonder.
In the first story ¡°The Adulterous Woman¡±, Janine resembles the absurd hero Meursalt from ¡°The Stranger¡±, who has discovered the absurd in a fleeting moment and has become aware of the benign indifference of the Universe. Though Janine has always realized the futility of existence, being married to Marcel and looking after his house mindlessly, it is here, in the desert, that she has realized the absurd, after slipping out of bed late at night when her husband is asleep. But as she realizes it, she also comes to understand that she needs the comfort of her husband¡¯s presence in her life to find some sense in the living; the urgency to seek life in a World which offers nothing.
The story ¡°The Renegade¡± is about a mutilated missionary who came to the salt city of Taghasa to convert its people but who is himself captured and mutilated by Fetish and lives in his imprisonment. This story is a piece of monologue which reminds of ¡°The Fall¡±. Perhaps it is owing to the fact, that the mutilated part is the tongue, that he cannot actually speak but thinks over in silence. The other reason being that it portrays the inherent evil in a man, who as a priest, dreams of absolute power. Under the confinement he begins to think that only evil is supreme. He then also kills another missionary.
O Fetish, my god over yonder, may your power be preserved, may the offence be multiplied, may hate rule pitilessly over a world of the damned, may the wicked forever be masters, may the kingdom come, where in a single city of salt and iron black tyrants will enslave and possess without pity! And now, gra gra, fire on pity, fire on impotence and its charity, fire on all that postpones the coming of evil¡.. How pleasant is the sound of a rifle butt on the face of goodness, today, today at last, all is consummated and everywhere in the desert, even hours away from here, jackals sniff the nonexistent wind, then set out in a patient trot toward the feast of carrion awaiting them. Victory! I raise my arms to a heaven moved to pity, a lavender shadow is just barely suggested on the opposite side, O nights of Europe, home, childhood, why must I weep in the moment of triumph?
Turning evil himself he murders. The seed had always been there, in the moments when he wished to kill his own father or reign over the ignorance of people, because he had lost hope in this World and was questioning everything. The struggle seems to point over to the central challenge that Camus poses: ¡°Is it possible to find a rule of conduct outside the realm of religion and its absolute conduct?¡±
The missionary weeps after killing the other man, an act which portrays his anguish. Towards the end he says:
Cast off that hate-ridden face, be good now, we were mistaken, we¡¯ll begin all over again, we¡¯ll rebuild the city of mercy, I want to go back home. Yes, help me, that¡¯s right, give me your hand.
We witness that though enslaved by evil once, at the heart, he is still hopeful for the future, for a future which will be meaningful, for man will find true happiness. In ¡°The Fall¡± also, the man constantly struggles to get over that incident where he could save a drowning girl but didn¡¯t and later he realized he would have never done so. For some reasons I was also reminded of ¡°Heart of Darkness¡± by Conrad here.
Among these stories which also include the stories namely, The Silent Man, The Guest, The Artist at Work and The Growing stone, the last two are my favorites.
"The Artist at Work" is the struggle of an Artist to keep up the reputation of his name as well as producing his paintings. Through this story, the author attacks the world around the artist which keeps flocking at his door, but he also suggests the only way where a man; an artist can find true happiness. This being something he also suggested in The Myth of Sisyphus; the life of an artist, his will to produce art because it is something which gives a meaning to life. But Jonas, whose art and reputation declines as he welcomes more and more people in his life, seems to wonder over what is more important, his art or his commitment towards society.
"Take my word for it,¡± Jonas said; ¡°I know them. You have to love them.¡± ¡°And what about you?¡± Rateau said. ¡°Do you exist? You never say anything bad about anyone.¡± Jonas began to laugh. ¡°Oh! I often think bad of them. But then I forget.¡± He became serious. ¡°No, I¡¯m not sure of existing. But someday I¡¯ll exist, I¡¯m sure.¡±
After days of seclusion, he comes up with a painting, which to his friend, Rateau¡¯s surprise is nothing but a blank canvas with only one word written very minutely ¨C ¡°Solitary or Solidary¡± but he cannot make out which one. I believe Camus also describes his own struggle as an Artist through this story.
The last story- "The Growing Stone" was the one which prompted much contemplation. D¡¯Arrast, a French Engineer, comes to a town, Iguape in Brazil, for construction of a bridge. He is readily accepted by the important people of the town but the poor people do not trust him. He then meets a cook, who becomes his friend. On the night of dancing, while returning back, he is arrested by the scenery of forest.
The night was full of fresh aromatic scents. Above the forest the few stars in the austral sky, blurred by an invisible haze, were shining dimly. The humid air was heavy. Yet it seemed delightfully cool on coming out of the hut. D¡¯Arrast climbed the slippery slope, staggering like a drunken man in the potholes. The forest, nearby, rumbled slightly. The sound of the river increased. The whole continent was emerging from the night, and loathing overcame D¡¯Arrast. It seemed to him that he would have liked to spew forth this whole country, the melancholy of its vast expanses, the glaucous light of its forests, and the nocturnal lapping of its big deserted rivers. This land was too vast, blood and seasons mingled here, and time liquefied. Life here was flush with the soil, and, to identify with it, one had to lie down and sleep for years on the muddy or dried-up ground itself. Yonder, in Europe, there was shame and wrath. Here, exile or solitude, among these listless and convulsive madmen who danced to die. But through the humid night, heavy with vegetable scents, the wounded bird¡¯s outlandish cry, uttered by the beautiful sleeping girl, still reached his ears.
The innate struggle of a stranger can also be witnessed here. But we also witness a sense of transcendence in the last lines, where the man does try to hold onto something to make a sense, much like as the feelings experienced by Janine in "The Adulterous Woman" where she weeps in the end.
As has been with all the other stories of this collection, stone is an important symbol used here also. In the scene where Cook is to carry a stone (because of his promise) on his back all the way to the Church through the town, I was reminded of Sisyphus¡¯ stone. What really captured my attention was that, D¡¯Arrast, while taking the stone on his shoulders, because he wishes to help his friend, doesn¡¯t proceed to Church but goes straight to Cook¡¯s house and hurl the stone in glowing hearth.
He hastened his pace, finally reached the little square where the cook¡¯s hut stood, ran to it, kicked the door open, and brusquely hurled the stone onto the still glowing fire in the centre of the room. And there, straightening up until he was suddenly enormous, drinking in with desperate gulps the familiar smell of poverty and ashes, he felt rising within him a surge of obscure and panting joy that he was powerless to name.
Does this signify something? Was Camus trying to work another idea here? Critics have, since his death, argued that Camus was onto something in his last works. From silence and solitariness, the condemned man moves on towards solidarity; not being religious, but in the wake of his understanding of absurd. Not giving in to the indifference but seeking a joy in amity. By hurling the stone in hearth, he is letting go off the weight of absurd to make way for a selfless joy. This solidarity is also depicted in The Plague where the doctor dedicates himself to the aid of people suffering from the endemic.
In my view, the stories in this collection, collectively works towards conveying the author¡¯s ideas as he developed from his early works to the later works. It is a beautiful portrayal of an author¡¯s advancement through his life and his attempt at finding that one kingdom where man may no longer feel exiled.
---------------------------------------------------
* Source: Anonymous
February 6, 2021
L'Exil et le Royaume = Exile and the Kingdom, Albert Camus
Exile and the Kingdom is a 1957 collection of six short stories by French writer Albert Camus.
The six works collected in this volume are:
The Adulterous Woman (La Femme adult¨¨re)
The Renegade or a Confused Spirit (Le Ren¨¦gat ou un esprit confus)
The Silent Men (Les Muets)
The Guest (L'H?te)
Jonas or the Artist at Work (Jonas ou l¡¯artiste au travail)
The Growing Stone (La Pierre qui pousse)
The underlying theme of these stories is human loneliness and feeling foreign and isolated in one's own society. Camus writes about outsiders living in Algeria who straddle the divide between the Muslim world and France.
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????? ???????? ????? ?????? ??? ????? ??? ??????????? ??? ???? ?????? ? ?????? ???????? ??????? ??????? ??? ???????? ??????? ???????? ?????? ? ?? ?? ???? ??? ?? ????? ?????? ????? ? ???? ?? ?????????? ??? ???? ??? ???????? ?????? ?????: ???? ?? ???? ?????? ?? ?? ??? ??????? ?????? ????? ??? ???? ?? ????? ?????? ?????? ??? ????? ?????? ?? ????? ????? ?????? ?? ?? ???????? ???? ??? ???? ???? ???? ???? ? ?? ??? ??? ???? ?? ?????? ?????? ? ???? ? ?? ??? ?????? ??? ???????? ????? ?? ???? ???? ???? ?????? ???? ? ?? ???? ? ?? ?????? ??? ??? ?????? ???? ????? ??? ????? ??? ??? ????? ????? ???? ????? ??? ?? ?????? ? ???? ??? ?????? ?? ?? ??? ???????? ???? ??? ??? ??? ????? ?? ??????? ????????? ??? ?? ?? ?????? ??? ?? ??? ???? ??????? ? ?????? ?? ??? ???? ?????? ?? ??????? ????? ?????? ??????? ???? ?? ???? ? ????????? ?? ?? ???? ???? ???? ?? ??????? ????? ??? ?????? ????????.)? ????? ???
????? ?????? ????? 17/11/1399???? ???????? ?. ???????
Exile and the Kingdom is a 1957 collection of six short stories by French writer Albert Camus.
The six works collected in this volume are:
The Adulterous Woman (La Femme adult¨¨re)
The Renegade or a Confused Spirit (Le Ren¨¦gat ou un esprit confus)
The Silent Men (Les Muets)
The Guest (L'H?te)
Jonas or the Artist at Work (Jonas ou l¡¯artiste au travail)
The Growing Stone (La Pierre qui pousse)
The underlying theme of these stories is human loneliness and feeling foreign and isolated in one's own society. Camus writes about outsiders living in Algeria who straddle the divide between the Muslim world and France.
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?????????? ??? ??????? ???? ???? ???? ? ??????? ?? ????? ?????? ????? ????? ????? ?? ??? ?? ???? ??????? ?????? ???? ???????????? ?????? ???? ??? ???? ???????? ??? ?? ???? ? ????????????? ? ?????????????? ?? ???? ?? ??? ??? ??? ??? ????? ????? ????? ????? ???? ??????? ? ???? ??????? ???? ?? ??? ? ????? ?? ?? ??? ???????? ? ??? ???? ????????? ???? ? ??????? ???? ????? ?? ??? ???? ???? ?? ?????? ??? ?????? ??? ???? ??????? ??? ?? ?????? ?? ?????? ????? ??????? ???
??? ?? ???: (?? ??????: ?????? ??????? ?? ??? ???? ???? ??? ??????? ?? ??? ???? ???? ???? ?????? ??? ??? ? ?? ???? ???????? ?????? ?????? ? ?? ?? ? ???? ????? ?????? ??? ????? ??? ?? ??? ??????? ?????? ??? ??? ?? ?? ???? ?? ??? ??? ?????? ?????? ?????? ??? ??? ???? ???? ?? ?? ???? ???? ?? ???? ??? ?? ?? ?????? ? ?? ???? ?? ????? ?? ??? ???????? ??????? ???? ?? ? ???? ????? ? ??? ??? ??????? ????? ? ???????? ?? ??? ????? ??? ??? ??????? ???? ?????? ?????? ??????? ? ?? ?????? ??? ?????? ??????? ????? ?? ????? ???? ???? ???? ?? ????? ???????? ??? ?????? ????? ????? ?????? ???? ?? ???? ? ????? ?? ? ?? ???? ???????? ????? ? ????? ????? ??? ????? ?? ?? ???? ? ??? ????? ??????? ????? ?????? ?????? ??? ?? ??????? ??? ??????? ??????? ?? ??? ??? ????? ?? ?? ??? ?????? ??? ?? ???? ????? ????????? ? ??? ????? ?? ????? ??????? ?????? ??????? ??? ?????? ???? ? ?? ????? ?? ????? ???? ??????? ??????? ?? ???? ?? ??????? ???? ?? ??? ?????? ?? ????????? ????? ????? ?? ????? ??? ?? ???? ????????? ????? ???? ???? ?? ??? ??????? ?? ?? ??? ??????? ???? ????????? ??? ??? ?? ???? ????
??????? ???? ???? ? ???? ???? ????? ?? ???? ?? ??????? ?? ?????? ??? ?? ?? ????? ???? ?? ???? ????? ??? ???? ??? ??? ????? ??????? ??????? ???? ?? ?? ??? ??????? ????? ???? ?????? ??? ???? ?? ???? ?? ????????? ???? ?????? ?????? ??? ???? ???? ????? ? ?????? ??? ?? ???? ? ?? ????? ?????? ??????? ????? ??? ??? ???? ????? ??????? ??????? ??? ?? ????? ?? ??? ???? ????? ??? ?? ????? ?? ?? ???? ??? ? ???? ??? ????? ???? ? ??????? ?????? ???? ????? ???????? ??????? ?? ??? ?????? ??? ???? ??? ? ????? ??? ??? ???? ?????? ????? ?? ?? ?? ???? ????? ????? ?? ??? ??? ???? ?? ????? ???? ???? ?? ????? ?? ??? ??????? ??? ?????? ???? ???? ?? ?? ??? ??????? ? ?????? ?????? ????
????? ???: ?? ?????? ?????!?
????? ???????? ????? ?????? ??? ????? ??? ??????????? ??? ???? ?????? ? ?????? ???????? ??????? ??????? ??? ???????? ??????? ???????? ?????? ? ?? ?? ???? ??? ?? ????? ?????? ????? ? ???? ?? ?????????? ??? ???? ??? ???????? ?????? ?????: ???? ?? ???? ?????? ?? ?? ??? ??????? ?????? ????? ??? ???? ?? ????? ?????? ?????? ??? ????? ?????? ?? ????? ????? ?????? ?? ?? ???????? ???? ??? ???? ???? ???? ???? ? ?? ??? ??? ???? ?? ?????? ?????? ? ???? ? ?? ??? ?????? ??? ???????? ????? ?? ???? ???? ???? ?????? ???? ? ?? ???? ? ?? ?????? ??? ??? ?????? ???? ????? ??? ????? ??? ??? ????? ????? ???? ????? ??? ?? ?????? ? ???? ??? ?????? ?? ?? ??? ???????? ???? ??? ??? ??? ????? ?? ??????? ????????? ??? ?? ?? ?????? ??? ?? ??? ???? ??????? ? ?????? ?? ??? ???? ?????? ?? ??????? ????? ?????? ??????? ???? ?? ???? ? ????????? ?? ?? ???? ???? ???? ?? ??????? ????? ??? ?????? ????????.)? ????? ???
????? ?????? ????? 17/11/1399???? ???????? ?. ???????
November 17, 2020
Albert Camus, con el correr del tiempo fue transform¨¢ndose en uno de mis autores preferidos. Notable escritor, que incursion¨® tanto en la novela, el ensayo y en el teatro, escribi¨® este libro de cuentos que yo no conoc¨ªa en el a?o 1957, casualmente el mismo en el que recibi¨® el premio Nobel de literatura tres a?os antes de que la muerte la arrebatara un futuro brillante, en el que seguramente nos hubiera deleitado con muchas m¨¢s obras literarias del calibre de sus novelas ¡°La Peste¡±, ¡°El extranjero¡± o su ensayos ¡°El hombre rebelde¡± y ¡°El mito de S¨ªsifo¡± u obras de teatro de calidad igual o superior a ¡°Los pose¨ªdos¡± o ¡°Cal¨ªgula¡±.
En este peque?o libro de cuentos, Camus descolla con seis relatos en donde profundiza la tem¨¢tica que desarrollara puntualmente en sus novelas ¡°El extranjero¡± y ¡°La peste¡±, en las cuales se ponen de manifiesto distintos planos de la condici¨®n humana, pero haciendo m¨¢s hincapi¨¦ en la desesperanza, la miseria y los sue?os truncos.
El libro se llama ¡°El exilio y el reino¡±. Exilio porque los personajes principales de la mayor¨ªa de los cuentos atraviesan un exilio, a veces autoimpuesto y en otras ocasiones heredado, de manera tal de que cada personaje principal de los relatos debe atravesarlo.
De esta manera, Janine en el primer cuento ¡°La ad¨²ltera¡± sufre el exilio de un ciudad agobiada por el calor siguiendo a su marido de toda la vida, buscando el reino tan lejano para ella: el de la libertad.
En otros cuentos, como en ¡°Los mudos¡±, los empleados de una f¨¢brica sostienen una confrontaci¨®n peleando por el reino de una mejora laboral y en ¡°El renegado o un esp¨ªritu confundido¡±, el personaje principal, que parece surgido de la cruza del ¡°Hombre del subsuelo¡± de Dostoievski con ¡°El innombrable¡± de Becket lucha por vengarse de las torturas de una secta que lo tiene prisionero imponiendo su nueva ley proclamada.
¡°El hu¨¦sped¡± es otro excelente relato en donde el personaje principal, Daru, debe decidir qu¨¦ hacer con un prisionero ¨¢rabe al que tiene que entregar poniendo en la balanza sus ideales. Ambos personajes, exiliados a su manera, entablar¨¢n una extra?a relaci¨®n.
Para m¨ª, el mejor cuento de todos es ¡°Jon¨¢s o el artista en el trabajo¡±. Es un relato que posee ribetes kafkianos, en primer lugar por la manera en que est¨¢ relatado, muy a la usanza del escritor checo, dado que el ambiente en que vive Jon¨¢s es opresivo, atestado de gente y en el que de todas maneras tiene que trabajar. Y dir¨ªa que el final tambi¨¦n tiene caracter¨ªsticas kafkianas, de esos que lo dejan pensando a uno. Al menos eso me parece a m¨ª. Puede que otros lectores no piensen lo mismo.
El nivel de introspecci¨®n que Camus utiliza para los personajes es excelente y no s¨®lo trabaja el existencialismo que le supo imprimir a ellos, sino que expone las diferentes actitudes del hombre ante el conocimiento de su propia condici¨®n, necesidades, deseos y esperanzas.
Albert Camus es un escritor que supo diferenciarse r¨¢pidamente del resto por ser original y es esta una condici¨®n destacable que en la literatura es copiada por algunos escritures que nunca pudieron acceder a semejante nivel de calidad narrativa.
En este peque?o libro de cuentos, Camus descolla con seis relatos en donde profundiza la tem¨¢tica que desarrollara puntualmente en sus novelas ¡°El extranjero¡± y ¡°La peste¡±, en las cuales se ponen de manifiesto distintos planos de la condici¨®n humana, pero haciendo m¨¢s hincapi¨¦ en la desesperanza, la miseria y los sue?os truncos.
El libro se llama ¡°El exilio y el reino¡±. Exilio porque los personajes principales de la mayor¨ªa de los cuentos atraviesan un exilio, a veces autoimpuesto y en otras ocasiones heredado, de manera tal de que cada personaje principal de los relatos debe atravesarlo.
De esta manera, Janine en el primer cuento ¡°La ad¨²ltera¡± sufre el exilio de un ciudad agobiada por el calor siguiendo a su marido de toda la vida, buscando el reino tan lejano para ella: el de la libertad.
En otros cuentos, como en ¡°Los mudos¡±, los empleados de una f¨¢brica sostienen una confrontaci¨®n peleando por el reino de una mejora laboral y en ¡°El renegado o un esp¨ªritu confundido¡±, el personaje principal, que parece surgido de la cruza del ¡°Hombre del subsuelo¡± de Dostoievski con ¡°El innombrable¡± de Becket lucha por vengarse de las torturas de una secta que lo tiene prisionero imponiendo su nueva ley proclamada.
¡°El hu¨¦sped¡± es otro excelente relato en donde el personaje principal, Daru, debe decidir qu¨¦ hacer con un prisionero ¨¢rabe al que tiene que entregar poniendo en la balanza sus ideales. Ambos personajes, exiliados a su manera, entablar¨¢n una extra?a relaci¨®n.
Para m¨ª, el mejor cuento de todos es ¡°Jon¨¢s o el artista en el trabajo¡±. Es un relato que posee ribetes kafkianos, en primer lugar por la manera en que est¨¢ relatado, muy a la usanza del escritor checo, dado que el ambiente en que vive Jon¨¢s es opresivo, atestado de gente y en el que de todas maneras tiene que trabajar. Y dir¨ªa que el final tambi¨¦n tiene caracter¨ªsticas kafkianas, de esos que lo dejan pensando a uno. Al menos eso me parece a m¨ª. Puede que otros lectores no piensen lo mismo.
El nivel de introspecci¨®n que Camus utiliza para los personajes es excelente y no s¨®lo trabaja el existencialismo que le supo imprimir a ellos, sino que expone las diferentes actitudes del hombre ante el conocimiento de su propia condici¨®n, necesidades, deseos y esperanzas.
Albert Camus es un escritor que supo diferenciarse r¨¢pidamente del resto por ser original y es esta una condici¨®n destacable que en la literatura es copiada por algunos escritures que nunca pudieron acceder a semejante nivel de calidad narrativa.
October 7, 2020
His work never fails to impress me. Camus¡¯ collection of six short stories are about people who just want to find a place where they belong, a ¡®kingdom¡¯ (home) where they feel as though their ¡®exile¡¯ will end and feel meaning/security in their lives. The stories (and my interpretation of each one) are as follows:
The Adulterous Woman:
This is a tale about the inner turmoil of the ¡°woman¡± (Janine) rather than the act of physical adultery. It is a day of crisis for a middle-aged wife, whilst on a trip with her husband (Marcel) to flog his wares, who has had no reason to question her existence before. It is symbolic adultery, rather than the actual physical act, towards her husband because of her desire to escape from him and the realisation that she has been trapped in a loveless marriage for 20 years.
The Renegade (or a Confused Spirit):
Different to Camus¡¯ usual writing style, it consists of the rambling, disjointed sentences of a man gone mad. The bizarreness makes it quite difficult to follow and interpret to begin with.
The protagonist appears to be pushed into searching for a ¡°good/happy death¡± to add meaning to his suffering and to find closure. It presents the idea of following religion as absurd. I took it to be about the protagonist accepting his suffering and eventual death, and not using faith as a ¡°way out¡±.
The Silent Men:
This story seems to be very much a commentary on the ageing process and how so many of us basically work ourselves to death. There is a sense of powerlessness running throughout. The business is doomed to fail, the main character is doomed to die. It has yet to happen, but there is nothing they can do but ride the storm out. The characters are frustrated with their mortality and their careers. They don¡¯t directly communicate how they feel amongst themselves, but it is known because it is inevitable.
The Guest (Or The Host):
A schoolmaster (Daru) is visited by two guests, a man named Balducci and a prisoner (who isn¡¯t named).
It becomes clear that Daru sympathises with the native Arabs and that he would very much like to let this prisoner go. This would also relieve him of tasks asked of him against his will.
The story ends with Daru pointing the man in either the direction of his imprisonment, or a place where he shall find shelter and solace with his people. It is up to the prisoner to make that choice. Whereas, Daru will be left all on his own.
Jonas (or The Artist At Work):
¡°Take me up and cast me forth into the sea... for I know that for my sake this great tempest is upon you.¡±
Jonas I.12
Jonas; the famous painter, a child of divorced parents. He just moved into an apartment with his partner Louise and their three children. He soon amasses a small group of disciples/pupils which he inspires with his art. Yet despite his surroundings, he suffers an existential crisis which makes him question the meaning of his life, as one does.
He remains humble as his star rises, and he is a people pleaser. This results in him eventually retreating from society.
It highlights the paradox of us needing a sense of belonging and to communicate with others, whilst simultaneously desiring a sense of freedom and being solitary.
The Growing Stone:
This story, set so differently to the others in this collection, again highlights Camus¡¯ opinion that religion en-masse has a detrimental effect on people.
It is very much a journey of self discovery for the main character (D¡¯Arrast) as his driver (Socrates) tells him the tale of ¡°The Growing Stone¡±.
The ending of ¡°The Growing Stone¡± finally gives us readers the sense that one of the characters (D¡¯Arrast) has actually been able to overcome the feeling of exile prevalent in each tale. He has reached the ¡®kingdom¡¯, he has found home.
The Adulterous Woman:
This is a tale about the inner turmoil of the ¡°woman¡± (Janine) rather than the act of physical adultery. It is a day of crisis for a middle-aged wife, whilst on a trip with her husband (Marcel) to flog his wares, who has had no reason to question her existence before. It is symbolic adultery, rather than the actual physical act, towards her husband because of her desire to escape from him and the realisation that she has been trapped in a loveless marriage for 20 years.
The Renegade (or a Confused Spirit):
Different to Camus¡¯ usual writing style, it consists of the rambling, disjointed sentences of a man gone mad. The bizarreness makes it quite difficult to follow and interpret to begin with.
The protagonist appears to be pushed into searching for a ¡°good/happy death¡± to add meaning to his suffering and to find closure. It presents the idea of following religion as absurd. I took it to be about the protagonist accepting his suffering and eventual death, and not using faith as a ¡°way out¡±.
The Silent Men:
This story seems to be very much a commentary on the ageing process and how so many of us basically work ourselves to death. There is a sense of powerlessness running throughout. The business is doomed to fail, the main character is doomed to die. It has yet to happen, but there is nothing they can do but ride the storm out. The characters are frustrated with their mortality and their careers. They don¡¯t directly communicate how they feel amongst themselves, but it is known because it is inevitable.
The Guest (Or The Host):
A schoolmaster (Daru) is visited by two guests, a man named Balducci and a prisoner (who isn¡¯t named).
It becomes clear that Daru sympathises with the native Arabs and that he would very much like to let this prisoner go. This would also relieve him of tasks asked of him against his will.
The story ends with Daru pointing the man in either the direction of his imprisonment, or a place where he shall find shelter and solace with his people. It is up to the prisoner to make that choice. Whereas, Daru will be left all on his own.
Jonas (or The Artist At Work):
¡°Take me up and cast me forth into the sea... for I know that for my sake this great tempest is upon you.¡±
Jonas I.12
Jonas; the famous painter, a child of divorced parents. He just moved into an apartment with his partner Louise and their three children. He soon amasses a small group of disciples/pupils which he inspires with his art. Yet despite his surroundings, he suffers an existential crisis which makes him question the meaning of his life, as one does.
He remains humble as his star rises, and he is a people pleaser. This results in him eventually retreating from society.
It highlights the paradox of us needing a sense of belonging and to communicate with others, whilst simultaneously desiring a sense of freedom and being solitary.
The Growing Stone:
This story, set so differently to the others in this collection, again highlights Camus¡¯ opinion that religion en-masse has a detrimental effect on people.
It is very much a journey of self discovery for the main character (D¡¯Arrast) as his driver (Socrates) tells him the tale of ¡°The Growing Stone¡±.
The ending of ¡°The Growing Stone¡± finally gives us readers the sense that one of the characters (D¡¯Arrast) has actually been able to overcome the feeling of exile prevalent in each tale. He has reached the ¡®kingdom¡¯, he has found home.
January 6, 2020
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August 7, 2023
???? ????? ??? ????? ?? "?????? ???? ????" (????? ????? ?????)? ??? ??????? ?? ??????? ?????? ??? ????? ??????? ??? ??????? ????????? ??? ???? ???? ??? ?????? ?????? ?????? ????? ??? ??????? ??? ????? ???????? ??? ?? ??? ??????? ?? ????? ??? ????? ?????? ?? ?????? ??? ????? ??????.
????????? ???????? ?????:
The Growing Stone
The Silent Men
Jonas
The Renegade or a Confused Spirit
The Guest
????????? ???????? ?????:
The Growing Stone
The Silent Men
Jonas
The Renegade or a Confused Spirit
The Guest
February 15, 2009
In "An Experiment in Criticism", Lewis argues that the only way to truly understand a book the reader must surrender to it and to the author's vision. This can be fairly easy when the reader and the author are coming from similar worldviews, but not when they are meeting head on from opposite ends of the spectrum. This is the challenge I face when reading Camus. Our worldviews are so different that reading his work is an exhausting experience. It is a constant struggle to surrender to his vision, which is deeply disturbing.
The stories in "Exile and the Kingdom" reflect, as they must, Camus' belief that life and the universe are meaningless, and that the fundamental desire for humankind is to find meaning. The absurdity of life comes from the clash of these two realities. The best one can do in life is to understand and live in this conflict without seeking a way out.
The characters that fill the pages of these stories are all in different stages of understanding the absurdity of life, but all of them are caught in the conflict. We meet, among others, a desperately unfulfilled wife, a group of men caught in dead-end careers, a man who nearly dies in his attempt to subvert the religious experiences and commitments of others, all of them arriving at a point where the absurdity is revealed to them clearly for the first time. The circumstances of the revelation are different for each; an encounter with the infinite, indifferent evil, empty labor, but the result is similar. Men and women alike must come to grips with meaninglessness in their particular lives and decide what to do with this knowledge.
Camus writes beautifully. His characters (with some exceptions) are tragic heroes and heroines who face his ultimate truth with a stoic dignity and courage. There is no deus ex machina to save them. If we submit to Camus' vision, we must admire them and sympathize with them. To the extent that I can enter into his world, they have my sympathy and I long to comfort them. But there is no comfort in the world of Camus, something he admits readily in his non-fiction, so we must leave the adulterous woman, the artist, the engineer, and the teacher to their despair. Camus would not have it any other way.
The stories in "Exile and the Kingdom" reflect, as they must, Camus' belief that life and the universe are meaningless, and that the fundamental desire for humankind is to find meaning. The absurdity of life comes from the clash of these two realities. The best one can do in life is to understand and live in this conflict without seeking a way out.
The characters that fill the pages of these stories are all in different stages of understanding the absurdity of life, but all of them are caught in the conflict. We meet, among others, a desperately unfulfilled wife, a group of men caught in dead-end careers, a man who nearly dies in his attempt to subvert the religious experiences and commitments of others, all of them arriving at a point where the absurdity is revealed to them clearly for the first time. The circumstances of the revelation are different for each; an encounter with the infinite, indifferent evil, empty labor, but the result is similar. Men and women alike must come to grips with meaninglessness in their particular lives and decide what to do with this knowledge.
Camus writes beautifully. His characters (with some exceptions) are tragic heroes and heroines who face his ultimate truth with a stoic dignity and courage. There is no deus ex machina to save them. If we submit to Camus' vision, we must admire them and sympathize with them. To the extent that I can enter into his world, they have my sympathy and I long to comfort them. But there is no comfort in the world of Camus, something he admits readily in his non-fiction, so we must leave the adulterous woman, the artist, the engineer, and the teacher to their despair. Camus would not have it any other way.
April 5, 2017
A collection of six short stories that contain all the characteristics those familiar with Camus would come to expect, there is mixed bag here with some simple to read and others with more complexity and depth. the first two "The Adulterous Woman" and "The Renegade" have a desert setting, it's barrenness brings about wonder and madness, "The Artist At Work" works as a mini statement about coping with love, "The Silent Men" and "The Guest" have the theme of compassion and man's need to find comfort with each other, and finally "The Growing Stone" follows a French engineer in Brazil to build a flood defense wall but lands in hot bother with the locals (my favourite). With them only being brief and not as good as of his more expansive work I would say this is suited better for the diehard fans, luckily I am one of them.
September 11, 2020
????? ??? ??? ?? ???? ????? ?????? ??????? ???? ?? ??? ???? ?????? ????.
January 11, 2020
Hat elbesz¨¦l¨¦s a mag¨¢nyr¨®l. De h¨¢t mi m¨¢sr¨®l ¨ªrhatna egy egzisztencialista? A kiscic¨¢s t?rt¨¦netek, ¨²gy fest, nem kompatibilisek ezzel a filoz¨®fiai rendszerrel. (B¨¢r el tudok k¨¦pzelni novell¨¢t egy parttalan mag¨¢nyra ¨ªt¨¦lt kiscic¨¢r¨®l. Ami azonban m¨¦g meg¨ªr¨¢sra v¨¢r.) Igaz¨¢b¨®l csak egy t?rt¨¦net nem tetszett: a Jonas, avagy a mester dolgozik c. opusz, amit nem is igen tudtam mire v¨¦lni, egy er?s lez¨¢r¨¢shoz vezet? vontatott ¨¦s jobb¨¢ra ¨¦rdektelen felvezet¨¦snek ¨¦reztem. Viszont amikor Camus szerepl?inek egzisztenci¨¢lis mag¨¢nya a gyarmatos¨ªt¨® mag¨¢ny¨¢val p¨¢rosul a gyarmatos¨ªtottak k?z?tt, az mindig nagyon izgalmas. L¨¢that¨®lag nagyon foglalkoztatja ?t ez: hogy az eur¨®pai ember a maga eur¨®paias kult¨²r¨¢j¨¢val milyen sz¨¢mkivetett tud lenni azok k?z?tt, akiket pedig megh¨®d¨ªtott ¨¦s uralma al¨¢ hajtott. De ezt az uralmat a haj¨¢ra kenheti, mint ahogy haj¨¢ra kenheti (gyakran ambivalens) vonzalm¨¢t is Alg¨¦ria ir¨¢nt, mert ez a vonzalom egyoldal¨², sosem k¨¦pes megrepeszteni a kitasz¨ªtotts¨¢g burk¨¢t. Mondhatn¨¢nk, Camus alg¨¦riai franci¨¢i olyan urak, akik - legal¨¢bbis id?nk¨¦nt, lelk¨¹k m¨¦ly¨¦n - jobb szeretn¨¦nek a szolg¨¢k k?z?ss¨¦g¨¦hez tartozni, de a szolg¨¢k k?z?ss¨¦ge t¨²l finny¨¢s ahhoz, hogy befogadja ?ket. Ez maradt nekik fegyver¨¹l - hogy kitasz¨ªthatnak.
Ui.: ?rdekes, hogy az utols¨® elbesz¨¦l¨¦s lez¨¢r¨¢s¨¢ban (Az eleven k?) a kib¨¦k¨ªthetetlen ellent¨¦t - SPOILER! -mintha felold¨¢st nyerne. Ez tal¨¢n valamif¨¦le bolond rem¨¦nyt t¨¹kr?zhet, hogy a kult¨²r¨¢k k?z?tt az¨¦rt kialakulhat valamif¨¦le p¨¢rbesz¨¦d. Persze ez az optimizmus - az ¨¦letm? eg¨¦sz¨¦t tekintve - ink¨¢bb csak egyszeri felvillan¨¢s, nem trend.
Ui.: ?rdekes, hogy az utols¨® elbesz¨¦l¨¦s lez¨¢r¨¢s¨¢ban (Az eleven k?) a kib¨¦k¨ªthetetlen ellent¨¦t - SPOILER! -mintha felold¨¢st nyerne. Ez tal¨¢n valamif¨¦le bolond rem¨¦nyt t¨¹kr?zhet, hogy a kult¨²r¨¢k k?z?tt az¨¦rt kialakulhat valamif¨¦le p¨¢rbesz¨¦d. Persze ez az optimizmus - az ¨¦letm? eg¨¦sz¨¦t tekintve - ink¨¢bb csak egyszeri felvillan¨¢s, nem trend.
August 25, 2019
?? ??? ??????? ????? ????? ?? ????? ?? ?????? ???? ?? ????? ? ?? ??? ?? ??? ?? ????? ?? ??????? ? ???? ??? ?? ???? ????? ?? ?????? ?????? ?? ????. ????? ?? ?? ???? ?????? ?? ?? ????? ?? ???? ?????? ?? ?? ?????. ?? ?? ??? ?? ??????? ?? ???? ?? ?? ?? ?????? ? ??????? ?? ?????.
?? ??? ????? ??? ??? ?? ?? ? ?? ?????? ??? ??? ?? ???? ??? ?????? ? ?? ?????? ???? ?? ???? ????? ?????? ?? ???? ?? ? ?? ???? ??????? ????? ???? ?? ???? ?? ??? ?? ????.
(???? ??)
?????? ??????? ?? ???? ???? ?? ????? ???? ???? ??? ??? ???? ??????? ? ????? ?????? "??????"? ??????? ??????? ???? ? ???? ??? ?? ??????? ?????.
???? ?? ??? ?????? ?? ?? ???? ???? ????? ??????? ????? ?? ???? ????? ???????? ? ?????? ? ????? ????? ? ??? ?? ??????.
?? ??? ??? ?????? ??? ?? "???? ?? ???? ???????" ?? ??????? ?? ????? ???? ???? ??? ??? ?? ????? ????? ? ????? ? ???? ??????? ?????? ?? ???? ???? ???.
??? ??????? ??????? ???? ???????? ?? ?? ?? ???? ????????? ?? ??? ?? ?????? ?? ???? ?? ?? ?? ?? ??? ???? ????? ???...
?. ????: ??? ???? ??? ??? ???? ?????? ????? ?????? ????????????????? ???? ?? ???? ??? ???? ???? ???? ???? ???? ????????? ?????? ???? ????? ???.
?? ??? ????? ??? ??? ?? ?? ? ?? ?????? ??? ??? ?? ???? ??? ?????? ? ?? ?????? ???? ?? ???? ????? ?????? ?? ???? ?? ? ?? ???? ??????? ????? ???? ?? ???? ?? ??? ?? ????.
(???? ??)
?????? ??????? ?? ???? ???? ?? ????? ???? ???? ??? ??? ???? ??????? ? ????? ?????? "??????"? ??????? ??????? ???? ? ???? ??? ?? ??????? ?????.
???? ?? ??? ?????? ?? ?? ???? ???? ????? ??????? ????? ?? ???? ????? ???????? ? ?????? ? ????? ????? ? ??? ?? ??????.
?? ??? ??? ?????? ??? ?? "???? ?? ???? ???????" ?? ??????? ?? ????? ???? ???? ??? ??? ?? ????? ????? ? ????? ? ???? ??????? ?????? ?? ???? ???? ???.
??? ??????? ??????? ???? ???????? ?? ?? ?? ???? ????????? ?? ??? ?? ?????? ?? ???? ?? ?? ?? ?? ??? ???? ????? ???...
?. ????: ??? ???? ??? ??? ???? ?????? ????? ?????? ????????????????? ???? ?? ???? ??? ???? ???? ???? ???? ???? ????????? ?????? ???? ????? ???.
October 12, 2021
?????? ?? ????? ?? ??????? ?????...
???? ???? ?? ?????? ????? ???????.
???? ???? ?? ?????? ????? ???????.
December 24, 2020
I love Camus (, and , in that order), but this one left me unimpressed. "The Adulterous Woman" felt like a less vivid version of the already-too-depressing , and "The Renegade" was almost incomprehensible. I liked the last four stories more, with "The Guest" and "The Artist at Work" being my favorites, but they were still pretty hollow reading experiences. Granted, the subject matter is as bleak as Camus's worldview, but all of his other fictional works are significantly more interesting while dealing with the same overarching perspective. I wanted to give this 3 stars just because that's how much I love and respect Camus as both writer and philosopher, but if I'm grading this specific book honestly I have to give it only 2, and risk the wrath of those more intellectual than I.
June 28, 2023
A great few short stories. There is something for anyone who has felt torn from their passions (or homeland, as in Camus¡¯s case). Camus has captured the essence and feeling of being exiled masterfully and I think each story is a reflection of Camus¡¯s mixed feelings towards his homeland (Northern Africa) and his heritage (France).
Camus was one of the few masters of his craft and the artistic ability shows through the absurdity of his stories, which is what I¡¯m sure he was going for, as he pointed out that good writing is more about ideas than just the ability to think up a decent plot (thinking of Melville, Kafka, Dostoyevski etc.), which we are all capable of doing, ergo anyone can write a story but very few can make it a piece of art (paraphrased from Absurd Creation, an essay from in The Myth of Sisyphus book).
That¡¯s all I can think of for now might edit and grammar check it later lol.
Camus was one of the few masters of his craft and the artistic ability shows through the absurdity of his stories, which is what I¡¯m sure he was going for, as he pointed out that good writing is more about ideas than just the ability to think up a decent plot (thinking of Melville, Kafka, Dostoyevski etc.), which we are all capable of doing, ergo anyone can write a story but very few can make it a piece of art (paraphrased from Absurd Creation, an essay from in The Myth of Sisyphus book).
That¡¯s all I can think of for now might edit and grammar check it later lol.
November 9, 2020
Albert Camus had an immense influence on me during adolescence. This is strange in that nowadays I don't think he would have much impact. At that time, however, I recognized my apprehensions articulated in his voice and in the voices of some of his characters, particularly the doctor in 'The Plague'.
In the sixties one heard about Camus everywhere. My first direct exposure was the typical one: The Stranger was assigned reading for an English class. Intrigued by that and by what I heard from the teacher and others, I went on to read, and be very impressed by, 'The Plague'--so impressed that I read it twice within the space of just a couple of years.
Camus was, of course, a transitional figure. Like Dad, he was of the generation that defeated Nazism. Unlike Dad, he articulated what might be learned from that. The articulation of what I had thought, but too often found unspoken, the articulation of the horrors humans have wrought and which I could imagine, the articulation of the ethical implications of atheism, the articulation of the thoughts of suicide and of both the fear and the exhilarating freedom so entailed--all of this was welcome at such an age. Here was a man who spoke truth to boys such as myself. Here, in his truthfulness, was some reason to have hope that not everything, not everyone was entirely false or lost.
In the sixties one heard about Camus everywhere. My first direct exposure was the typical one: The Stranger was assigned reading for an English class. Intrigued by that and by what I heard from the teacher and others, I went on to read, and be very impressed by, 'The Plague'--so impressed that I read it twice within the space of just a couple of years.
Camus was, of course, a transitional figure. Like Dad, he was of the generation that defeated Nazism. Unlike Dad, he articulated what might be learned from that. The articulation of what I had thought, but too often found unspoken, the articulation of the horrors humans have wrought and which I could imagine, the articulation of the ethical implications of atheism, the articulation of the thoughts of suicide and of both the fear and the exhilarating freedom so entailed--all of this was welcome at such an age. Here was a man who spoke truth to boys such as myself. Here, in his truthfulness, was some reason to have hope that not everything, not everyone was entirely false or lost.
June 13, 2012
So I start reading this book and I¡¯m like ¡°oh this is nice, let me put my Casa Blance lens on.¡± I am happily reading along, when all of a sudden, I¡¯m like:
wait!
What-the-cluster-fuck?!
How did I get here?
And it is not just the first short story; it all of them! I had to read it once, twice, and then go back and review and try to understand and read between the lines.
So check it, in my opinion, all the stories have to be taken as one ongoing theme: An individual who finds himself displaced in some other country; falls in love with the culture and because they love it more they love it more than his native land¡ªAdulterous wife. There is a moral conflict regarding loyalty, the nostalgia and melancholia of wanting to belong but not fully reaching full acknowledgement. That is the in between, until finally finding ¡°home¡± amongst the natives¡
I did give it 5 stars because of the authors ability to manipulate my thoughts¡this is by no means meant to be passive reading. The book is short and could be great for book club discussions¡
Hope this helps
wait!
What-the-cluster-fuck?!
How did I get here?
And it is not just the first short story; it all of them! I had to read it once, twice, and then go back and review and try to understand and read between the lines.
So check it, in my opinion, all the stories have to be taken as one ongoing theme: An individual who finds himself displaced in some other country; falls in love with the culture and because they love it more they love it more than his native land¡ªAdulterous wife. There is a moral conflict regarding loyalty, the nostalgia and melancholia of wanting to belong but not fully reaching full acknowledgement. That is the in between, until finally finding ¡°home¡± amongst the natives¡
I did give it 5 stars because of the authors ability to manipulate my thoughts¡this is by no means meant to be passive reading. The book is short and could be great for book club discussions¡
Hope this helps
December 15, 2015
Opera lui Camus nu are niciun ra?ionament (sau dac? are, el este -prin cuvintele autorului, dup? cum vorbe?te ?n "Mitul lui Sisif"- un "ra?ionament absurd". De aceea opera lui Camus nu este una metodic?, ea neav?nd un sistem dup? care avea s? fie scris?. Ea, opera, ilustreaz? impecabil absurdul, faptul c? via?a e absurd? ?i, prin urmare, niciun ra?ionament nu-?i are rostul... Camus -oric?t de paradoxal ar p?rea!- a fost un om foarte sensibil, iar asta ?n ciudat? stilului s?u de via?? vulgar. Grenier, un prieten foarte bun al filosofului existen?ialist, spunea: "Camus a luptat nu numai ?mpotriva lenei de a g?ndi (opera sa este ca o be?ie a lucidit??ii), ci mai degrab? s-a ?mpotrivit lenei de a sim?i. N-a obosit niciodat? lupt?nd, fiindc? n-a obosit niciodat? iubind."
August 25, 2019
Povestirea preferata: "Jonas sau Artistul la lucru". Cea care mi-a placut cel mai putin: "Piatra care creste".
June 20, 2023
L¡¯exil et le royaume est un des livres essentiels d¡¯Albert Camus. Il faut le lire apr¨¨s L¡¯¨¦tranger et La Peste afin de voir la vision compl¨¨te de l¡¯homme engag¨¦ de Camus dans la conjoncture politique qui pr¨¦valait ¨¤ son ¨¦poque. Aux yeux de Camus l¡¯homme ne devait pas rester neutre dans les luttes politiques mais participer activement pour la bonne cause; c¡¯est dire pour la classe ouvri¨¨re contre les patrons et pour les gens du tier monde contre les puissances imp¨¦riales. Parmi d¡¯autres choses Camus se croyait oblig¨¦ d¡¯appuyer le FLN de l¡¯Alg¨¦rie contre la France malgr¨¦ le fait qu¡¯il ¨¦tait membre de la communaut¨¦ fran?aise de l¡¯Alg¨¦rie.
Dans le premier conte, La femme adult¨¨re Camus nous pr¨¦sente une femme malheureuse et frustr¨¦e sexuellement parce qu¡¯elle a pour mari un boutiquier qui d¨¦vou¨¦ ¨¤ ses ambitions extr¨ºmement m¨¦diocres. Le concept est banal mais le texte est superbement.
Le ren¨¦gat raconte la vie d¡¯un pr¨ºtre qui s¡¯en va en Afrique afin de convertir les pa?ens. Il est engag¨¦ mais sa cause est mauvaise. Il finit mal.
Les muets parle des suites d¡¯une gr¨¨ve dans une tonnellerie alg¨¦rienne. Les ouvriers sont mal pay¨¦s mais le patron n¡¯est pas un monstre. Parce le march¨¦ des tonneaux est en chute libre, il n¡¯a vraiment pas les moyens de payer ses employ¨¦s davantage.
L¡¯h?te est consid¨¦r¨¦ comme un chef d¡¯?uvre. L¡¯action se d¨¦roule pendant la guerre le Lib¨¦ration nationale de l¡¯Alg¨¦rie. La police demande ¨¤ un instituteur fran?ais dans un village ¨¦loign¨¦ de conduire un prisonnier arabe ¨¤ la plus proche prison. L¡¯instituteur veut s¡¯en laver les mains comme Ponce Pilate et apprend trop tard que ce n¡¯est pas possible.
Jonas est l¡¯histoire d¡¯un peintre qui se laisse mener par le bout de nez par son agent, sa femme et les membres de son entourage. Il est d¨¦chir¨¦ entre deux options : la solitude ou la solidarit¨¦. Il meurt avant de prendre sa d¨¦cision.
La pierre qui pousse est une fable qui renverse le Ch?teau de Kafka. Le protagoniste, un ing¨¦nieur fran?ais arrive ¨¤ une ville c?ti¨¨re br¨¦silienne avec le but de construire une digue. Contrairement ¨¤ K, l¡¯arpenteur-protagoniste qui reste un ¨¦tranger dans sa ville d¡¯accueil, D¡¯Arrast, le protagoniste de Camus r¨¦ussir ¨¤ se faire une place. Le moyen est l¡¯engagement. Il rejette le Christianisme obscurantiste et bourgeois et se rallie ¨¤ la cause ouvri¨¨re. Ainsi le recueil de finit sur une note optimiste.
L¡¯exil et le royaume est une relique de l¡¯¨¦poque o¨´ on croyait qu¡¯un front commun entre les prol¨¦taires des pays riches et les colonis¨¦s du tier monde devait mener ¨¤ un meilleur avenir pour l¡¯humanit¨¦. C¡¯¨¦tait une absurdit¨¦ mais une absurdit¨¦ tr¨¨s bien d¨¦fendue par Camus. L¡¯exil et le royaume est un des livres incontournables de l¡¯apr¨¨s-guerre.
Dans le premier conte, La femme adult¨¨re Camus nous pr¨¦sente une femme malheureuse et frustr¨¦e sexuellement parce qu¡¯elle a pour mari un boutiquier qui d¨¦vou¨¦ ¨¤ ses ambitions extr¨ºmement m¨¦diocres. Le concept est banal mais le texte est superbement.
Le ren¨¦gat raconte la vie d¡¯un pr¨ºtre qui s¡¯en va en Afrique afin de convertir les pa?ens. Il est engag¨¦ mais sa cause est mauvaise. Il finit mal.
Les muets parle des suites d¡¯une gr¨¨ve dans une tonnellerie alg¨¦rienne. Les ouvriers sont mal pay¨¦s mais le patron n¡¯est pas un monstre. Parce le march¨¦ des tonneaux est en chute libre, il n¡¯a vraiment pas les moyens de payer ses employ¨¦s davantage.
L¡¯h?te est consid¨¦r¨¦ comme un chef d¡¯?uvre. L¡¯action se d¨¦roule pendant la guerre le Lib¨¦ration nationale de l¡¯Alg¨¦rie. La police demande ¨¤ un instituteur fran?ais dans un village ¨¦loign¨¦ de conduire un prisonnier arabe ¨¤ la plus proche prison. L¡¯instituteur veut s¡¯en laver les mains comme Ponce Pilate et apprend trop tard que ce n¡¯est pas possible.
Jonas est l¡¯histoire d¡¯un peintre qui se laisse mener par le bout de nez par son agent, sa femme et les membres de son entourage. Il est d¨¦chir¨¦ entre deux options : la solitude ou la solidarit¨¦. Il meurt avant de prendre sa d¨¦cision.
La pierre qui pousse est une fable qui renverse le Ch?teau de Kafka. Le protagoniste, un ing¨¦nieur fran?ais arrive ¨¤ une ville c?ti¨¨re br¨¦silienne avec le but de construire une digue. Contrairement ¨¤ K, l¡¯arpenteur-protagoniste qui reste un ¨¦tranger dans sa ville d¡¯accueil, D¡¯Arrast, le protagoniste de Camus r¨¦ussir ¨¤ se faire une place. Le moyen est l¡¯engagement. Il rejette le Christianisme obscurantiste et bourgeois et se rallie ¨¤ la cause ouvri¨¨re. Ainsi le recueil de finit sur une note optimiste.
L¡¯exil et le royaume est une relique de l¡¯¨¦poque o¨´ on croyait qu¡¯un front commun entre les prol¨¦taires des pays riches et les colonis¨¦s du tier monde devait mener ¨¤ un meilleur avenir pour l¡¯humanit¨¦. C¡¯¨¦tait une absurdit¨¦ mais une absurdit¨¦ tr¨¨s bien d¨¦fendue par Camus. L¡¯exil et le royaume est un des livres incontournables de l¡¯apr¨¨s-guerre.
February 18, 2019
Bi?e, uskoro, i za romane Pad i Prvi ?ovek.
July 21, 2024
Albert Camus
Exilul ?i ?mp?r??ia
Condamna?i mereu exilului, eroii lui Camus ??i car? hipnotic piatra pre?ioas? dup? sine, ??i duc pe br?nci sinele corput de at?ta renegare ?i furie.
?n cele ?ase povestiri din Exilul ?i ?mp?r??ia, to?i se pierd pe sine ?i se reg?sesc ?ntr-un mar? fluent al existen?ialismului, unde tropotele pa?ilor adver?i se ?ncurc? cu aplauzele ?i nici numai ?tii pe cine s? elogiezi ?i pe cine s? ur??ti, pentru c? to?i au urcu? comun pe care s? se ca?ere sau s? se desprind? ?ncerc?nd s?-?i accidenteze uitarea.
Damnati mereu unui chin metafiz prelungit, eroii lui Camus se dedic? la infinit absurdului, nimic nu are logic? ?i orice ac?iune vital? se compromite, se reneag?.
De?i mult mai pozitivi, personajele din povestirile lui Camus oscileaz? mereu ?ntre fapte morale ?i nep?sare, am ?ntrez?rit pentru prima oar? la Camus ?i un aspect moralist al povestirii,de exemplu prima povestire din carte ?Femeia adulter?¡±, relev? un aspect mitic biblic despre p?catul ?n sine, trimite la femeia adulter? care este chemat? s? fie b?tut? cu pietre ?i este absolvit? de vin? pe loc chiar de c?tre Isus, aici povestitorul este ?nsu?i un fel de Mesia, ??i concentreaz? toate argumentele logice sau chiar ?i absurde pentru a ap?ra femeia l?sat? liber? sub cerul nop?ii, fuga ei de l?ng? so? este doar temporar?, femeia-evocat? aici drept un spirit idealist, dar ?nc?tu?at? sub o form? de domina?ie patriarhal?, pleac? din camera hotelului ?n mijlocul nop?ii, refuz?nd s? mai participe ?ntr-un mod ?i a?a formal la un ?act carnal¡± , lipsit de consim??m?ntul ei de obicei...
O eliberare de vechile obiceiuri proscrise se ?ntrez?re?te ?n marele amurg, Camus zeific? aici femeia ?i o pune ?ntr-un unghi potrivit evolu?iei moral- spirituale at?t de necesar? ?ntr-o epoc? dominat? de b?rba?i.
Cea de-a doua povestire este despre r?t?cirile unui misionar cre?tin nimerit accidental ?ntr-o pe?ter? idolatr? ?i for?at s? participe la ni?te ritualuri p?g?ne atroce, profetului i se taie limba. Camus a vrut s? eviden?ieze ?nc? odata absurditismul religiei ?i brutalitate tuturor ritualurilor f?r? nici o noim? concret?.
Urm?toarea povestire cuprinde revolta activ? a muncitorilor de r?nd ?i este denumit? ironic ?Cei mu?i¡±, t?cere prelungit? declan?eaz? revolte violente ?n omul comun, o lini?te prea mare ?ntotdeuna are un fundament exploziv ?i va r?bfuni la un moment dat.
?n ?Jonas sau artistul la lucru¡±, Camus ne prezint? mai mult un pamflet al artistului, de fapt un diletant ?n c?utarea mereu a inspira?ie care alege cele mai u?oare c?i pentru a r?m?ne mereu ?n centrul aten?iei, de?i opera lui e imita?ie ?i nu valoreaz? nimic, dovada c? a?a zisul ?artist¡±, ?geniul¡± le?in? la final.
Cea mai repzentativ? povestire din carte e ?Piatra care cre?te¡±, ultima, prin care Camus ??i evoc? ?ntru totul inten?iile existen?ialiste ?i absurditiste, protagonistul de fa?? este un erou pozitiv, stoic ?n contrast cu cel din Strainul sau din Mitul lui Sisif, piatra dat? este doar o premiz? pentru finalul ?ncununat de lauri, ?n acest sens ¡±piatra respectiv?? este privit? ca o medalie, ca un obiect pre?ios purtat? pe umeri de cel care a promis, de?i cel care o car? tot se ?mpiedic? ?i cade de multe ori ?n genunchi, traseul lui este privit ca o experien?? existen?ialist? plin? de sens, de?i absurd? pentru mul?i.
Exilul ?i ?mp?r??ia
Condamna?i mereu exilului, eroii lui Camus ??i car? hipnotic piatra pre?ioas? dup? sine, ??i duc pe br?nci sinele corput de at?ta renegare ?i furie.
?n cele ?ase povestiri din Exilul ?i ?mp?r??ia, to?i se pierd pe sine ?i se reg?sesc ?ntr-un mar? fluent al existen?ialismului, unde tropotele pa?ilor adver?i se ?ncurc? cu aplauzele ?i nici numai ?tii pe cine s? elogiezi ?i pe cine s? ur??ti, pentru c? to?i au urcu? comun pe care s? se ca?ere sau s? se desprind? ?ncerc?nd s?-?i accidenteze uitarea.
Damnati mereu unui chin metafiz prelungit, eroii lui Camus se dedic? la infinit absurdului, nimic nu are logic? ?i orice ac?iune vital? se compromite, se reneag?.
De?i mult mai pozitivi, personajele din povestirile lui Camus oscileaz? mereu ?ntre fapte morale ?i nep?sare, am ?ntrez?rit pentru prima oar? la Camus ?i un aspect moralist al povestirii,de exemplu prima povestire din carte ?Femeia adulter?¡±, relev? un aspect mitic biblic despre p?catul ?n sine, trimite la femeia adulter? care este chemat? s? fie b?tut? cu pietre ?i este absolvit? de vin? pe loc chiar de c?tre Isus, aici povestitorul este ?nsu?i un fel de Mesia, ??i concentreaz? toate argumentele logice sau chiar ?i absurde pentru a ap?ra femeia l?sat? liber? sub cerul nop?ii, fuga ei de l?ng? so? este doar temporar?, femeia-evocat? aici drept un spirit idealist, dar ?nc?tu?at? sub o form? de domina?ie patriarhal?, pleac? din camera hotelului ?n mijlocul nop?ii, refuz?nd s? mai participe ?ntr-un mod ?i a?a formal la un ?act carnal¡± , lipsit de consim??m?ntul ei de obicei...
O eliberare de vechile obiceiuri proscrise se ?ntrez?re?te ?n marele amurg, Camus zeific? aici femeia ?i o pune ?ntr-un unghi potrivit evolu?iei moral- spirituale at?t de necesar? ?ntr-o epoc? dominat? de b?rba?i.
Cea de-a doua povestire este despre r?t?cirile unui misionar cre?tin nimerit accidental ?ntr-o pe?ter? idolatr? ?i for?at s? participe la ni?te ritualuri p?g?ne atroce, profetului i se taie limba. Camus a vrut s? eviden?ieze ?nc? odata absurditismul religiei ?i brutalitate tuturor ritualurilor f?r? nici o noim? concret?.
Urm?toarea povestire cuprinde revolta activ? a muncitorilor de r?nd ?i este denumit? ironic ?Cei mu?i¡±, t?cere prelungit? declan?eaz? revolte violente ?n omul comun, o lini?te prea mare ?ntotdeuna are un fundament exploziv ?i va r?bfuni la un moment dat.
?n ?Jonas sau artistul la lucru¡±, Camus ne prezint? mai mult un pamflet al artistului, de fapt un diletant ?n c?utarea mereu a inspira?ie care alege cele mai u?oare c?i pentru a r?m?ne mereu ?n centrul aten?iei, de?i opera lui e imita?ie ?i nu valoreaz? nimic, dovada c? a?a zisul ?artist¡±, ?geniul¡± le?in? la final.
Cea mai repzentativ? povestire din carte e ?Piatra care cre?te¡±, ultima, prin care Camus ??i evoc? ?ntru totul inten?iile existen?ialiste ?i absurditiste, protagonistul de fa?? este un erou pozitiv, stoic ?n contrast cu cel din Strainul sau din Mitul lui Sisif, piatra dat? este doar o premiz? pentru finalul ?ncununat de lauri, ?n acest sens ¡±piatra respectiv?? este privit? ca o medalie, ca un obiect pre?ios purtat? pe umeri de cel care a promis, de?i cel care o car? tot se ?mpiedic? ?i cade de multe ori ?n genunchi, traseul lui este privit ca o experien?? existen?ialist? plin? de sens, de?i absurd? pentru mul?i.
April 5, 2015
Since the beginning of time, on the dry earth of this limitless land scraped to the bone, a few men had been ceaselessly trudging, possessing nothing but serving no one, poverty-stricken but free lords of a strange kingdom. Janine did not know why this thought filled her with such a sweet, vast melancholy that it closed her eyes. She knew that this kingdom had been eternally promised her and yet that it would never be hers, never again, except in this fleeting moment perhaps when she opened her eyes again on the suddenly motionless sky and on its waves of steady light, while the voices rising from the Arab town suddenly fell silent. It seemed to her that the world¡¯s course had just stopped and that, from that moment on, no one would ever age any more or die. Everywhere, henceforth, life was suspended ¡ª except in her heart, where, at the same moment, someone was weeping with affliction and wonder.
March 18, 2012
Personaly I love Camus and this flavour of writing. . . The writing, which is for its own sake. . . Pure, artistic and honest. . . Each story is like a painting that etches itself permanently n vividly in one's memory. . . The setting is so important as are the characters with their conscientious n existential struggles, their paradoxes n dilemas, that are too real and near to one's ownself rendering these characters unforgettable. . . The open end is always amenable to one's own interpretation which is individualistic, varied as well as unique. . . Camus in never in a hurry to 'say it', rather lets it percolate through a tapestry of weighty, artistically structured sentences! And that is the very hallmark beauty of Camus. . .! But Camus is 'for everyone' and 'not for all' - at the same time !!! For me, Camus wil b always d one I adore and would be revisiting him and that too not once !!! Recommended with double thumbs up !!!
June 4, 2024
Konuk. S¨¹rg¨¹n ve Krall?k¡¯taki hikayelerden bir tanesi. Ben ?nce bu hikayeden ?ekilen filmi 2 kez izlemi? ve kitab?n pe?ine d¨¹?m¨¹?, okumu?tum.
Dilsizler. ?kinci okumamda beni etkileyen hikaye oldu. Yal?n ve derdini net anlatan, bir o kadar da insani y?n¨¹ kuvvetli bir ?yk¨¹. O y¨¹zden bende tek okumakla yetinmedim.
Kitab?n ismi gibi s¨¹rg¨¹n ve krall?k aras?nda sal?nan insanl?k tarihi ?yk¨¹lerin temeli.
Fimin ad?: ?nsanl?ktan Uzakta ( Far from Men)
?evirisinde baz? kelimeler o kadar kulak t?rmal?yor ki, bence okur hakk?m? kullanarak tekrar gen? ?evirmenler taraf?ndan ?evrilmeli diyorum. Umar?m:)
Dilsizler. ?kinci okumamda beni etkileyen hikaye oldu. Yal?n ve derdini net anlatan, bir o kadar da insani y?n¨¹ kuvvetli bir ?yk¨¹. O y¨¹zden bende tek okumakla yetinmedim.
Kitab?n ismi gibi s¨¹rg¨¹n ve krall?k aras?nda sal?nan insanl?k tarihi ?yk¨¹lerin temeli.
Fimin ad?: ?nsanl?ktan Uzakta ( Far from Men)
?evirisinde baz? kelimeler o kadar kulak t?rmal?yor ki, bence okur hakk?m? kullanarak tekrar gen? ?evirmenler taraf?ndan ?evrilmeli diyorum. Umar?m:)
July 11, 2019
La idea que personalmente ten¨ªa del escritor argelino-franc¨¦s era la de un fil¨®sofo ensayista que tuvo a bien escribir algunas novelas. No ten¨ªa noticia de su obra como dramaturgo, sus innumerables escritos period¨ªsticos y su ¨²nico libro de cuentos titulado "El exilio y el reino", este ¨²ltimo publicado en 1957 tres a?os antes de su prematura muerte.
En esta rese?a veremos: ?Qu¨¦ tan buena es la obra cuent¨ªstica de Cam¨²s? ?Merece este libro ser considerado entre sus obras m¨¢s destacadas?
El volumen consta de seis cuentos, ninguno de ellos con una extensi¨®n menor a las veinte p¨¢ginas. As¨ª que podemos empezar diciendo que el estilo se inclina por detallar todos los elementos considerados importantes, tanto en la ambientaci¨®n externa como en el mundo interior de sus personajes. Algunas historias se ubican en Argelia o en otros lugares de Africa del norte, por lo que el lector deber¨¢ confrontarse con un entorno des¨¦rtico, climas extremosos y personajes ex¨®ticos, entiendase por ello ¨¢rabes arropados en t¨²nicas (que la traducci¨®n de Alianza llama "chilabas"). S¨®lo un par de cuentos est¨¢n ambientados en Francia con un ambiente m¨¢s citadino y moderno.
Veamos uno por uno:
"La mujer ad¨²ltera" es apenas la primera muestra de esta colecci¨®n y nos introduce al estilo minucioso del autor, con una est¨¦tica plet¨®rica que por fortuna no llega a ser demasiado confusa. Camus escribe con limpieza y precisi¨®n notables, pero le gusta mucho pormenorizar; por consiguiente, nuestra lectura debe ser lenta y comprometida. El t¨ªtulo parece ser demasiado severo con una protagonista que vive una significativa situaci¨®n de abandono afectivo por parte de su marido. El cuento tiene el acierto de no condenar ni disculpar a esa mujer, sino simplemente exponer los hechos; especialmente cuando no queda claro que ella cometa un acto reprobable.
"El renegado o un esp¨ªritu confuso" es el cuento m¨¢s complejo y arriesgado de este volumen pero tambi¨¦n uno de los mejores. Sus primeros p¨¢rrafos son demoledores por la t¨¦cnica sofisticada y la ferocidad de los hechos narrados. Trata sobre un misionero cat¨®lico con un insensato y autodestructivo esp¨ªritu fundamentalista que decide convertir almas en una zona especialmente hostil. Al enfrentarse con el iracundo rechazo, su personalidad ingenua se transforma radicalmente siendo cooptado: el misionero en lugar de convertir es convertido, poni¨¦ndose al servicio de la barbarie. Camus tiene la virtud de ilustrar como la violencia envilece tanto a victimas como victimarios por muy religiosas que sus creencias puedan ser. En esta terrible historia hemos de destacar la originalidad, el ritmo y el orden impecable con el que est¨¢ escrita. Es posible que Garc¨ªa M¨¢rquez haya tomado inspiraci¨®n de esta narraci¨®n corta, una de las m¨¢s potentes que haya le¨ªdo ¨²ltimamente.
"Los mudos" nos presenta un tema m¨¢s mundano y un tanto inesperado; habla de un conflicto obrero-patronal visto desde todas sus aristas (excepto la estrictamente pol¨ªtica, lo cual es de agradecer). La humanidad de los personajes y sus reacciones tanto de ira como de bondad quedan registradas con una admirable y sobrecogedora sensibilidad; aunque los seres humanos no seamos capaces de impartir una verdadera justicia, la vida no tiene favoritismos y puede ser muy dif¨ªcil para cualquiera. Excelente cuento.
Para comprender "El hu¨¦sped" necesitamos ubicarnos en el contexto hist¨®rico. En la ¨¦poca de Camus la naci¨®n Argelina a¨²n era una colonia francesa, pero se encontraba en el peligroso periodo pre-revolucionario. No era extra?o encontrarse con policias o militares conduciendo prisioneros ¨¢rabes de un lado a otro. En esta narraci¨®n uno de esos reos queda bajo custodia de un humilde maestro rural totalmente ajeno a la pol¨ªtica, lo cual le significa una situaci¨®n inc¨®moda y adem¨¢s un problema moral; sobre todo porque el prisionero no despliega una verdadera personalidad criminal. Por su parte, el autor despliega esa eminente sensatez que le impide generalizar, politizar y hacer juicios sumarios sobre sus personajes. Un buen escritor debe ser apol¨ªtico, amoral y estar libre de todo prejuicio.
"Jon¨¢s o el artista trabajando" retoma el t¨®pico que ha sido desarrollado por muchos otros escritores (el arte, la inspiraci¨®n y el papel del artista en la sociedad) pero le otorga un tratamiento novedoso. De nueva cuenta, el protagonista presenta una psicolog¨ªa muy bien construida; se trata de un joven que al ser hijo ¨²nico de padres permisivos tiende a idealizar su porvenir. A veces las personas con "buena estrella" no son m¨¢s que egocentristas que saben rodearse de las personas adecuadas; es decir, las que podr¨ªan sacrificarse y sobrellevar su individualismo. El conflicto surge cuando el artista sufre la crisis de inspiraci¨®n y se ve obligado a recapitular y a enfrentarse consigo mismo. El narrador es muy ir¨®nico (quasi-brit¨¢nico al estilo del mejor Dickens o Wilde), capaz de describir de manera amable lo que en realidad es un caos. Por ¨²ltimo, este cuento nos introduce a aquella famosa frase que distingui¨® a Camus: "Solitario o solidario".
El cuento final "La piedra que crece" es una narraci¨®n m¨¢s oscura que termina brillando como un sol. Ofrece una t¨¦cnica experimental en la que el narrador se ocupa m¨¢s de los detalles secundarios que de los hechos principales. Esto propicia que el lector tenga que deducir los incidentes por s¨ª mismo. No ser¨¢ sino hasta muy entrado el relato cuando podr¨¢ identificarse la trama; Camus nos habla de un ingeniero franc¨¦s que en circunstancias turbias (notaremos un fuerte tufo a corrupci¨®n) es llevado para construir un dique en un marginado pueblo costero de Brasil. En ese ambiente afro en donde se fusionan las creencias primitivas con el cristianismo (y se practican rituales plenos de rusticidad y sincretismo) aparece un nativo ofreciendo cumplir una arriesgada penitencia. La inspiraci¨®n de su sacrificio es una supuesta piedra milagrosa que en esas tierras se venera con ardiente fervor. En el ideal de un fil¨®sofo no existen los milagros. Sin embargo, hay ciertas situaciones en las que surge el sentimiento humano de compasi¨®n y de solidaridad desinteresada, los cuales constituyen el verdadero (y quiz¨¢s el ¨²nico) milagro de que la humanidad es capaz de generar.
En resumen, tenemos un potente libro de cuentos que nos ofrece un estilo moderno con tem¨¢ticas harto interesantes. Destacan "Los mudos", "Jon¨¢s", "El renegado" y el brillante tramo final de "La piedra que crece". Es una pena que nuestro escritor haya encontrado la muerte siendo a¨²n relativamente joven, pues pose¨ªa todas las cualidades literarias para prolongar una brillante carrera como cuentista. Seguramente nos hubiera legado m¨¢s libros de cinco estrellas, como "El exilio y el reino".
En esta rese?a veremos: ?Qu¨¦ tan buena es la obra cuent¨ªstica de Cam¨²s? ?Merece este libro ser considerado entre sus obras m¨¢s destacadas?
El volumen consta de seis cuentos, ninguno de ellos con una extensi¨®n menor a las veinte p¨¢ginas. As¨ª que podemos empezar diciendo que el estilo se inclina por detallar todos los elementos considerados importantes, tanto en la ambientaci¨®n externa como en el mundo interior de sus personajes. Algunas historias se ubican en Argelia o en otros lugares de Africa del norte, por lo que el lector deber¨¢ confrontarse con un entorno des¨¦rtico, climas extremosos y personajes ex¨®ticos, entiendase por ello ¨¢rabes arropados en t¨²nicas (que la traducci¨®n de Alianza llama "chilabas"). S¨®lo un par de cuentos est¨¢n ambientados en Francia con un ambiente m¨¢s citadino y moderno.
Veamos uno por uno:
"La mujer ad¨²ltera" es apenas la primera muestra de esta colecci¨®n y nos introduce al estilo minucioso del autor, con una est¨¦tica plet¨®rica que por fortuna no llega a ser demasiado confusa. Camus escribe con limpieza y precisi¨®n notables, pero le gusta mucho pormenorizar; por consiguiente, nuestra lectura debe ser lenta y comprometida. El t¨ªtulo parece ser demasiado severo con una protagonista que vive una significativa situaci¨®n de abandono afectivo por parte de su marido. El cuento tiene el acierto de no condenar ni disculpar a esa mujer, sino simplemente exponer los hechos; especialmente cuando no queda claro que ella cometa un acto reprobable.
"El renegado o un esp¨ªritu confuso" es el cuento m¨¢s complejo y arriesgado de este volumen pero tambi¨¦n uno de los mejores. Sus primeros p¨¢rrafos son demoledores por la t¨¦cnica sofisticada y la ferocidad de los hechos narrados. Trata sobre un misionero cat¨®lico con un insensato y autodestructivo esp¨ªritu fundamentalista que decide convertir almas en una zona especialmente hostil. Al enfrentarse con el iracundo rechazo, su personalidad ingenua se transforma radicalmente siendo cooptado: el misionero en lugar de convertir es convertido, poni¨¦ndose al servicio de la barbarie. Camus tiene la virtud de ilustrar como la violencia envilece tanto a victimas como victimarios por muy religiosas que sus creencias puedan ser. En esta terrible historia hemos de destacar la originalidad, el ritmo y el orden impecable con el que est¨¢ escrita. Es posible que Garc¨ªa M¨¢rquez haya tomado inspiraci¨®n de esta narraci¨®n corta, una de las m¨¢s potentes que haya le¨ªdo ¨²ltimamente.
"Los mudos" nos presenta un tema m¨¢s mundano y un tanto inesperado; habla de un conflicto obrero-patronal visto desde todas sus aristas (excepto la estrictamente pol¨ªtica, lo cual es de agradecer). La humanidad de los personajes y sus reacciones tanto de ira como de bondad quedan registradas con una admirable y sobrecogedora sensibilidad; aunque los seres humanos no seamos capaces de impartir una verdadera justicia, la vida no tiene favoritismos y puede ser muy dif¨ªcil para cualquiera. Excelente cuento.
Para comprender "El hu¨¦sped" necesitamos ubicarnos en el contexto hist¨®rico. En la ¨¦poca de Camus la naci¨®n Argelina a¨²n era una colonia francesa, pero se encontraba en el peligroso periodo pre-revolucionario. No era extra?o encontrarse con policias o militares conduciendo prisioneros ¨¢rabes de un lado a otro. En esta narraci¨®n uno de esos reos queda bajo custodia de un humilde maestro rural totalmente ajeno a la pol¨ªtica, lo cual le significa una situaci¨®n inc¨®moda y adem¨¢s un problema moral; sobre todo porque el prisionero no despliega una verdadera personalidad criminal. Por su parte, el autor despliega esa eminente sensatez que le impide generalizar, politizar y hacer juicios sumarios sobre sus personajes. Un buen escritor debe ser apol¨ªtico, amoral y estar libre de todo prejuicio.
"Jon¨¢s o el artista trabajando" retoma el t¨®pico que ha sido desarrollado por muchos otros escritores (el arte, la inspiraci¨®n y el papel del artista en la sociedad) pero le otorga un tratamiento novedoso. De nueva cuenta, el protagonista presenta una psicolog¨ªa muy bien construida; se trata de un joven que al ser hijo ¨²nico de padres permisivos tiende a idealizar su porvenir. A veces las personas con "buena estrella" no son m¨¢s que egocentristas que saben rodearse de las personas adecuadas; es decir, las que podr¨ªan sacrificarse y sobrellevar su individualismo. El conflicto surge cuando el artista sufre la crisis de inspiraci¨®n y se ve obligado a recapitular y a enfrentarse consigo mismo. El narrador es muy ir¨®nico (quasi-brit¨¢nico al estilo del mejor Dickens o Wilde), capaz de describir de manera amable lo que en realidad es un caos. Por ¨²ltimo, este cuento nos introduce a aquella famosa frase que distingui¨® a Camus: "Solitario o solidario".
El cuento final "La piedra que crece" es una narraci¨®n m¨¢s oscura que termina brillando como un sol. Ofrece una t¨¦cnica experimental en la que el narrador se ocupa m¨¢s de los detalles secundarios que de los hechos principales. Esto propicia que el lector tenga que deducir los incidentes por s¨ª mismo. No ser¨¢ sino hasta muy entrado el relato cuando podr¨¢ identificarse la trama; Camus nos habla de un ingeniero franc¨¦s que en circunstancias turbias (notaremos un fuerte tufo a corrupci¨®n) es llevado para construir un dique en un marginado pueblo costero de Brasil. En ese ambiente afro en donde se fusionan las creencias primitivas con el cristianismo (y se practican rituales plenos de rusticidad y sincretismo) aparece un nativo ofreciendo cumplir una arriesgada penitencia. La inspiraci¨®n de su sacrificio es una supuesta piedra milagrosa que en esas tierras se venera con ardiente fervor. En el ideal de un fil¨®sofo no existen los milagros. Sin embargo, hay ciertas situaciones en las que surge el sentimiento humano de compasi¨®n y de solidaridad desinteresada, los cuales constituyen el verdadero (y quiz¨¢s el ¨²nico) milagro de que la humanidad es capaz de generar.
En resumen, tenemos un potente libro de cuentos que nos ofrece un estilo moderno con tem¨¢ticas harto interesantes. Destacan "Los mudos", "Jon¨¢s", "El renegado" y el brillante tramo final de "La piedra que crece". Es una pena que nuestro escritor haya encontrado la muerte siendo a¨²n relativamente joven, pues pose¨ªa todas las cualidades literarias para prolongar una brillante carrera como cuentista. Seguramente nos hubiera legado m¨¢s libros de cinco estrellas, como "El exilio y el reino".
November 20, 2020
Six separate stories with main characters who are dealing with existential angst in its many forms. Other common threads between the stories are estrangement and loneliness¡ªloneliness among friends, family, partners, and society at large.
The Adulterous Wife
Here we meet Janine, married to Marcel for some time, and now struggling with feelings of estrangement from her husband and everyone around her. Janine is also tormented in reminiscence over what she deems as her lost youth. Her existence is so intermeshed with that of her husband that at one point she ruminates: ¡°he made her existence real.¡±
The Renegade, or A Confused Mind
Probably the most obscure story in the book, the renegade is a Catholic missionary who is captured by some tribe in the desert. He ends up in the service of the tribe¡¯s Fetish after being severely tormented and his tongue cut. He sets up in a den planning to kill another missionary who is coming to the area.
The Voiceless
Here we follow the story of Yvars, a worker in a cooper¡¯s shop, after he goes on a strike with his colleagues in the hopes of getting their salaries raised. The strike fails and we see them back in the shop, all with heavy feelings against the owner, who sincerely tries to make amends and raise their spirits by promising that if their productivity increases and yields in more revenue, he will increase their payments without even being asked. An accident that involves the owner¡¯s daughter then occurs ¡ and the men refuse to pay their owner any help or words of condolence.
The Guest
Here we follow the story of Daru after a prisoner is left in his custody. Daru finds himself practically forced to turn the man in¡
Jonas, or The Artist at Work
The story of an artist who becomes increasingly absorbed in his work that he starts feeling estranged from his wife and kids¡
The Growing Stone
Here we see an absurdist engineer called D¡¯Arrast carrying out a moral deed for a friend¡
The Adulterous Wife
Here we meet Janine, married to Marcel for some time, and now struggling with feelings of estrangement from her husband and everyone around her. Janine is also tormented in reminiscence over what she deems as her lost youth. Her existence is so intermeshed with that of her husband that at one point she ruminates: ¡°he made her existence real.¡±
The Renegade, or A Confused Mind
Probably the most obscure story in the book, the renegade is a Catholic missionary who is captured by some tribe in the desert. He ends up in the service of the tribe¡¯s Fetish after being severely tormented and his tongue cut. He sets up in a den planning to kill another missionary who is coming to the area.
The Voiceless
Here we follow the story of Yvars, a worker in a cooper¡¯s shop, after he goes on a strike with his colleagues in the hopes of getting their salaries raised. The strike fails and we see them back in the shop, all with heavy feelings against the owner, who sincerely tries to make amends and raise their spirits by promising that if their productivity increases and yields in more revenue, he will increase their payments without even being asked. An accident that involves the owner¡¯s daughter then occurs ¡ and the men refuse to pay their owner any help or words of condolence.
The Guest
Here we follow the story of Daru after a prisoner is left in his custody. Daru finds himself practically forced to turn the man in¡
Jonas, or The Artist at Work
The story of an artist who becomes increasingly absorbed in his work that he starts feeling estranged from his wife and kids¡
The Growing Stone
Here we see an absurdist engineer called D¡¯Arrast carrying out a moral deed for a friend¡
July 16, 2024
's is a collection of six short stories. The first four are set in French Algeria, the fifth in Paris, and the sixth in Brazil. I particularly enjoyed the Algerian stories, being in a desert heat wave of sorts in Southern California. It is a pity that Camus did not write any other short stories as I can recall, because he was good at it. But then, whenever he picked up his pen, he managed to write something interesting, whether it was a novel, play, essay, or journal.
July 28, 2011
Albert Camus¡¯s existentialism is sometimes described as having more hope than some of his other contemporaries. One thing is certain, Camus has a way of presenting real life that causes the reader to become AWARE. By aware, I mean aware of where they are while reading Camus; aware of their own vision of life; aware of their individual mindset in relation to Camus. The author has a way of presenting life at its most raw and foundational level. My own mindset caused me to look at how the role of balance/homeostasis/opposites played into this collection of stories, and how our most basic desires, feelings and emotions play into every decision that we make. To me, Camus¡¯s characters were all on a search for something, and they were willing to go to any length to find it, including against their own societal-conditioned mores. Yet Camus pushes beyond that, and challenges us to not only resist the old assumptions, but to create entirely new paradigms. Resistance within a system is good, but it ultimately achieves nothing if it does not change the very system itself. From the question of what it means to be faithful to yourself, to who is one¡¯s brother, to the way we apply externalities to people and the way we tend to keep them there, to what it means to give of one¡¯s self, yet have a ¡°self¡± to give, to the commonalities we share with those who appear most foreign to us, this book¡¯s stories seem to contain elements that can stir up virtually any emotion. It is the kind of book that calls for a re-read at different phases of life, and perhaps can be most appreciated the more it is read in the constantly evolving and changing context of one¡¯s life.
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