Albert Camus in the 21st Century: A Reassessment of his by Mark Orme, Lissa Lincoln, Christine Margerrison

By Mark Orme, Lissa Lincoln, Christine Margerrison

Within the first decade of a brand new century, this selection of bilingual essays examines Camus's carrying on with recognition for a brand new new release of readers. In the most important respects, the area Camus knew has replaced past all acceptance: decolonization, the autumn of the Iron Curtain, a brand new period of globalization and the increase of latest varieties of terrorism have all provoked a reconsideration of Camus's writings. If the Absurd as soon as struck a selected chord, Meursault is as most likely now to be obvious as a colonial determine who expresses the alienation of the settler from the land of his beginning. but this expanding orthodoxy should also take account of the explanations why a brand new group of Algerian readers have embraced Camus. both, as soon as remoted due to his anti-Communist stance, Camus has been taken up via disaffected individuals of the Left, confident that new sorts of totalitarianism are in a foreign country on the earth. This quantity, which levels from interpretations of Camus's literary works, his journalism and his political writings, could be of curiosity to all these looking to reassess Camus's paintings within the gentle of moral and political matters which are of constant relevance this day.

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New York: Riverhead Books, 1994. , 23. 12 30 Maurice Weyembergh s’engager et la poésie qui est désintéressée, est donc rejetée : au niveau de la littérature, l’esthétique, qui n’a rien à voir avec la politique ou le social, prédomine. Bloom accepterait plus volontiers, me semble-t-il, la formule camusienne selon laquelle les hommes engagés sont à préférer à la littérature engagée. Dans la liste des écrivains qu’il situe dans le canon, Sartre et Camus ont d’ailleurs leur place. Ils appartiennent à ce que Bloom considère comme l’âge chaotique du canon, après les âges théocratique, aristocratique et démocratique.

C’est donc à la fois par la manière dont ils ont égalé ou dépassé leurs devanciers et par celle dont ils ont influencé leurs successeurs qu’ils font partie du canon. En tout cas, la littérature et l’engagement social n’ont rien à voir : “Whatever the Western Canon is, it is not a program for social salvation” (28). La distinction de Sartre entre la prose qui doit 11 Das Prinzip Hoffnung, 3 vols (Frankfurt am Main : Suhrkamp, 1985 [1959]), 711. New York: Riverhead Books, 1994. , 23. 12 30 Maurice Weyembergh s’engager et la poésie qui est désintéressée, est donc rejetée : au niveau de la littérature, l’esthétique, qui n’a rien à voir avec la politique ou le social, prédomine.

La question de la légitimité du meurtre logique ou idéologique telle que Camus la pose, n’a rien perdu de son actualité : les hommes continuent de s’affronter au nom d’idées qu’ils pensent souvent de manière insuffisante ou qu’ils se contentent de répéter. L’effort de l’écrivain pour limiter la violence, pour accommoder la justice à la liberté et la liberté à la justice me semble toujours exemplaire ; croire comme Sartre dans sa préface aux Damnés de la terre que la lance d’Achille guérira les violences qu’elle suscite15, continue de me paraître un leurre.

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