Albert Camus by Philip Thody (auth.)

By Philip Thody (auth.)

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37 One could, of course, play down the impact of this rather rhetorical sentence by pointing out that it is all simply the result of everyone having more money and paid holidays. You are given a month offwork and you have to go somewhere. But just as bare mountains and gothic architecture became fashionable in the late eighteenth and early nineteenth century partly as a result of the way Rousseau, Wordsworth and Chateaubriand wrote about them, and it became fashionable to go to Scotland only after the publication of the novels of Sir Walter Scott, so the extraordinary success of the Club Mediterranee can be linked to the impact of three writers: Andre Gide, D.

This effectively cuts the ground from under his lawyer's feet, though one is a little surprised at the lawyer's own failure to plead self-defence. Meursault was, after all, facing an Arab who was holding the very knife used only an hour or two earlier to wound Raymond. But the code in which Camus is intending this aspect of L 'Etranger to be read is that of the novel of social protest. He is concerned, as in so many of his other works, to attack the death penalty, and his criticism is aimed here at the way in which criminal courts reach their verdicts.

But if you don't believe in God, argues Sartre, then there is no reason for anything to exist at all. There could well be nothing; and what there is could be totally different. The world is therefore, in Sartre's VIew, 45 46 A tbert Camus absurd in the sense of having no ultimate reason for its existence. We may, through science, be able to understand the how.

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