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Lyrical and Critical Essays, by Albert Camus
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Essays, Literary Studies, Classic and French Literature
- Sales Rank: #209286 in Books
- Brand: Camus, Albert
- Published on: 1970-09-12
- Released on: 1970-09-12
- Original language: English
- Number of items: 1
- Dimensions: 7.30" h x 1.00" w x 4.40" l,
- Binding: Mass Market Paperback
- 384 pages
Review
Lyrical And Critical Essays
"The literary output of Albert Camus was exceptionally concentrated and well organized, so that each part of it throws light on the other parts.... Here now, for the first time in a complete English translation, we have Camus' three little volumes of essays, plus a selection of his critical comments on literature and on his own place in it. As might be expected, the main interest of these writings is that they illuminate new facets of his usual subject matter."
-- John Weightman, The New York Times Book Review
"The work of Albert Camus began to achieve international recognition after World War II, and from then until his death in 1960 no author was a greater articulator of the general reevaluation of human action that took place in the best literature of this period... because those works are so intense, so occupied with the themes of a civilization, it is good to have small, sometimes rough pieces which show a great writer close to the stuff of experience he would later refine and set into parables for an age. For it was his ability to stay near the plain, uncelebrated habits of life that gave Camus' art its peculiar strength and his thought its hard humanity."
-- Jack Richardson, Book World
"Some of the pieces have been translated individually before, but several of the best have not, and the complete sequence forms what is in effect a new, single work for American readers that stands among his very finest."
-- Donald Lazere, The Nation
From the Back Cover
'The literary output of Albert Camus was exceptionally concentrated and well organized, so that each part of it throws light on other parts....Here now, for the first time in a complete English translation, we have Camus' three little volumes of essays, plus a selection of his critical comments on literature and on his own place in it. As might be expected, the main interest of these writings is that they illuminate new facets of his usual subject matter.'-John Weightman, The New York Times Book Review.
About the Author
Albert Camuswas born in Algeria in 1913. During World War II, he joined the Resistance movement in Paris, then became editor-in-chief of the newspaper Combat during the Liberation. A novelist, playwright, and essayist, he is most famous for his novels The Stranger and The Plague. He was awarded the Nobel Prize for Literature in 1957.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Five Stars
By Fellow Traveler
Represents some of Camus' best and most lyrical writing. Highly recommended.
7 of 7 people found the following review helpful.
Some of his best work...
By Dionysian GENERATOR
He is easily one of the most lucid, sensitive, and talented writers of the 20th century and these essays show a young, energetic Camus showcasing his amazing ability to connect with the reader and with the world around him. On a personal level, Camus has been my biggest influence and of all the books I own, this is by far my most loved.
4 of 4 people found the following review helpful.
A SERIES OF ESSAYS WRITTEN BY A YOUNG CAMUS
By Steven H Propp
Albert Camus (1913-1960) was a French author, journalist, and philosopher, who won the 1957 Nobel Prize for Literature for his novels such as The Stranger, The Plague, The Fall, etc. He also wrote nonfiction such as The Myth of Sisyphus: And Other Essays, The Rebel: An Essay on Man in Revolt, Resistance, Rebellion, and Death: Essays, etc.
He wrote in the Preface to this 1958 collection of essays, “The essays collected in this volume were written in 1935 and 1936 (I was then twenty-two) and published a year later in Algeria in a very limited edition. This edition has been unobtainable for a long time and I have always refused to have [the essay] ‘The Wrong Side and the Right Side’ reprinted. There are no mysterious reasons for my stubbornness. I reject nothing of what these writings express, but their form has always seemed clumsy to me. The prejudices on art I cherish in spite of myself … kept me for a long time from considering their republication… I can confess that for me this little book has considerable value as testimony. I say for me, since it is to me that it demands a fidelity whose depth and difficulties I alone can know.”
He suggests, “The immortality of the soul, it is true, engrosses many noble minds. But this is because they reject the body, the only truth that is given them, before using up its strength. For the body presents no problems, or, at least, they know the only solution it proposes: a truth which must perish and which thus acquires a bitterness and nobility they dare not contemplate directly. Noble minds would rather have poetry than the body, for poetry concerns the soul.” (Pg. 95)
He asserts, “I do not have enough faith in reason to subscribe to a belief in progress or to any philosophy of history. I do believe at least that man’s awareness of his destiny has never ceased to advance. We have not overcome our condition, and yet we know it better. We know that we live in contradiction, but we also know that we must refuse this contradiction and to what is needed to reduce it. Our task as men is to find the few principles that will calm the infinite anguish of free souls. We must mend what has been torn apart, make justice imaginable again in a world so obviously unjust, give happiness a meaning once more to peoples poisoned by the misery of the century.” (Pg. 135)
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He explains, “I should like to have been an objective writer. What I call an objective author is one who chooses themes without ever taking himself as the subject. But the modern mania of identifying the author with his subject matter will not allow him this relative creative liberty. Thus does one become a prophet of the absurd… the absurd can be considered only as a point of departure … how can one limit oneself to saying that nothing has meaning and that we must plunge into absolute despair? … one can at least mention that just as there is no absolute materialism… there is likewise no total nihilism. The moment you say that everything is nonsense you express something meaningful. Refusing the world all meaning amounts to abolishing all value judgments… You choose to remain alive the moment you do not allow yourself to die of hunger, and consequently you recognize that life has at least a relative value.” (Pg. 159-160)
He acknowledges, “The intellectual’s role is a difficult one in our time. It is not his task to modify history. Whatever people may say, revolutions come first and ideas afterward. Consequently, it takes great courage today to proclaim oneself faithful to the things of the mind. But at least this courage is not useless… For if it is not indeed the task of intelligence to modify history, its real task will nevertheless be to act upon man, for it is man who makes history.” (Pg. 196)
In one essay he states, “Any philosophical system is, in the last analysis, a theory of language. Every inquiry about being calls into question the power of words.” (Pg. 232) He continues, “What characterizes our century is perhaps not so much the need to rebuild the word as to rethink it. This amounts to giving the world its language… Today when the questions the world puts to us are so much more urgent, we search for words with even more anguish. The lexicons that are proposed to us don’t fit. And it is natural for our best minds to form a kind of passionate academy in quest of a French dictionary.” (Pg. 240)
He argues, “If the divine order cannot be called into question and admits only sin and repentance, there is no tragedy… On the other hand, everything that frees the individual and makes the universe submit to his wholly human law, especially by the denial of the mystery of existence, once again destroys tragedy. Atheistic or rationalistic tragedy is thus equally impossible. If all is mystery, there is no tragedy. If all is reason, the same thing happens. Tragedy is born between light and darkness and rises from the struggle between them. And this is understandable. In both religious and atheistic drama, the problem has in fact already been solved. In the ideal tragedy, just the opposite, is has not been solved.” (Pg. 303)
In an 1955 letter appended to this collection, he explains, “’The Plague,’ which I wanted to be read on a number of levels, nevertheless has as its obvious content the struggle of the European resistance movements against Nazism. The proof of this is that although the specific enemy is nowhere named, everyone in every European country recognized it… In a sense, The Plague is more than a chronicle of the Resistance. But certainly it is nothing less… Compared to ‘The Stranger,’ The Plague does… represent the transition from an attitude of solitary revolt to the recognition of a community whose struggles must be shared. If there is an evolution from The Stranger to The Plague, it is in the direction of solidarity and participation.” (Pg. 339)
These essays are certainly not on a par with his later, more “mature” work; but they will be of keen interest to anyone studying Camus, and the development of his thought.
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