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Authors: Albert Camus

The Stranger (12 page)

He sat there for a few seconds, leaning forward, with his elbows on his knees, looking at his hands. They were slender and sinewy and they reminded me of two nimble animals. He slowly rubbed one against the other. Then he sat there, leaning forward like that, for so long that for an instant I seemed to forget he was there.

But suddenly he raised his head and looked straight at me. “Why have you refused to see me?” he asked. I said that I didn’t believe in God. He wanted to know if I was sure and I said that I didn’t see any reason to ask myself that question: it seemed unimportant. He then leaned back against the wall, hands flat on his thighs. Almost as if it wasn’t me he was talking to, he remarked that sometimes we think we’re sure when in fact we’re not. I didn’t say anything. He looked at me and asked, “What do you think?” I said it was possible. In any case, I may not have been sure about what really did interest me, but I was absolutely sure about what didn’t. And it just so happened that what he was talking about didn’t interest me.

He looked away and without moving asked me if I wasn’t talking that way out of extreme despair. I explained to him that I wasn’t desperate. I was just afraid, which was only natural. “Then God can help you,” he said. “Every man I have known in your position has
turned to Him.” I acknowledged that that was their right. It also meant that they must have had the time for it. As for me, I didn’t want anybody’s help, and I just didn’t have the time to interest myself in what didn’t interest me.

At that point he threw up his hands in annoyance but then sat forward and smoothed out the folds of his cassock. When he had finished he started in again, addressing me as “my friend.” If he was talking to me this way, it wasn’t because I was condemned to die; the way he saw it, we were all condemned to die. But I interrupted him by saying that it wasn’t the same thing and that besides, it wouldn’t be a consolation anyway. “Certainly,” he agreed. “But if you don’t die today, you’ll die tomorrow, or the next day. And then the same question will arise. How will you face that terrifying ordeal?” I said I would face it exactly as I was facing it now.

At that he stood up and looked me straight in the eye. It was a game I knew well. I played it a lot with Emmanuel and Céleste and usually they were the ones who looked away. The chaplain knew the game well too, I could tell right away: his gaze never faltered. And his voice didn’t falter, either, when he said, “Have you no hope at all? And do you really live with the thought that when you die, you die, and nothing remains?” “Yes,” I said.

Then he lowered his head and sat back down. He told me that he pitied me. He thought it was more than a man could bear. I didn’t feel anything except that he
was beginning to annoy me. Then I turned away and went and stood under the skylight. I leaned my shoulder against the wall. Without really following what he was saying, I heard him start asking me questions again. He was talking in an agitated, urgent voice. I could see that he was genuinely upset, so I listened more closely.

He was expressing his certainty that my appeal would be granted, but I was carrying the burden of a sin from which I had to free myself. According to him, human justice was nothing and divine justice was everything. I pointed out that it was the former that had condemned me. His response was that it hadn’t washed away my sin for all that. I told him I didn’t know what a sin was. All they had told me was that I was guilty. I was guilty, I was paying for it, and nothing more could be asked of me. At that point he stood up again, and the thought occurred to me that in such a narrow cell, if he wanted to move around he didn’t have many options. He could either sit down or stand up.

I was staring at the ground. He took a step toward me and stopped, as if he didn’t dare come any closer. He looked at the sky through the bars. “You’re wrong, my son,” he said. “More could be asked of you. And it may be asked.” “And what’s that?” “You could be asked to see.” “See what?’

The priest gazed around my cell and answered in a voice that sounded very weary to me. “Every stone here sweats with suffering, I know that. I have never looked
at them without a feeling of anguish. But deep in my heart I know that the most wretched among you have seen a divine face emerge from their darkness. That is the face you are asked to see.”

This perked me up a little. I said I had been looking at the stones in these walls for months. There wasn’t anything or anyone in the world I knew better. Maybe at one time, way back, I had searched for a face in them. But the face I was looking for was as bright as the sun and the flame of desire—and it belonged to Marie. I had searched for it in vain. Now it was all over. And in any case, I’d never seen anything emerge from any sweating stones.

The chaplain looked at me with a kind of sadness. I now had my back flat against the wall, and light was streaming over my forehead. He muttered a few words I didn’t catch and abruptly asked if he could embrace me. “No,” I said. He turned and walked over to the wall and slowly ran his hand over it. “Do you really love this earth as much as all that?” he murmured. I didn’t answer.

He stood there with his back to me for quite a long time. His presence was grating and oppressive. I was just about to tell him to go, to leave me alone, when all of a sudden, turning toward me, he burst out, “No, I refuse to believe you! I know that at one time or another you’ve wished for another life.” I said of course I had, but it didn’t mean any more than wishing to be rich, to be able to swim faster, or to have a more nicely shaped
mouth. It was all the same. But he stopped me and wanted to know how I pictured this other life. Then I shouted at him, “One where I could remember this life!” and that’s when I told him I’d had enough. He wanted to talk to me about God again, but I went up to him and made one last attempt to explain to him that I had only a little time left and I didn’t want to waste it on God. He tried to change the subject by asking me why I was calling him “monsieur” and not “father.” That got me mad, and I told him he wasn’t my father; he wasn’t even on my side.

“Yes, my son,” he said, putting his hand on my shoulder, “I am on your side. But you have no way of knowing it, because your heart is blind. I shall pray for you.”

Then, I don’t know why, but something inside me snapped. I started yelling at the top of my lungs, and I insulted him and told him not to waste his prayers on me. I grabbed him by the collar of his cassock. I was pouring out on him everything that was in my heart, cries of anger and cries of joy. He seemed so certain about everything, didn’t he? And yet none of his certainties was worth one hair of a woman’s head. He wasn’t even sure he was alive, because he was living like a dead man. Whereas it looked as if I was the one who’d come up emptyhanded. But I was sure about me, about everything, surer than he could ever be, sure of my life and sure of the death I had waiting for me. Yes, that was all I had. But at least I had as much of a hold on
it as it had on me. I had been right, I was still right, I was always right. I had lived my life one way and I could just as well have lived it another. I had done this and I hadn’t done that. I hadn’t done this thing but I had done another. And so? It was as if I had waited all this time for this moment and for the first light of this dawn to be vindicated. Nothing, nothing mattered, and I knew why. So did he. Throughout the whole absurd life I’d lived, a dark wind had been rising toward me from somewhere deep in my future, across years that were still to come, and as it passed, this wind leveled whatever was offered to me at the time, in years no more real than the ones I was living. What did other people’s deaths or a mother’s love matter to me; what did his God or the lives people choose or the fate they think they elect matter to me when we’re all elected by the same fate, me and billions of privileged people like him who also called themselves my brothers? Couldn’t he see, couldn’t he see that? Everybody was privileged. There were only privileged people. The others would all be condemned one day. And he would be condemned, too. What would it matter if he were accused of murder and then executed because he didn’t cry at his mother’s funeral? Salamano’s dog was worth just as much as his wife. The little robot woman was just as guilty as the Parisian woman Masson married, or as Marie, who had wanted me to marry her. What did it matter that Raymond was as much my friend as Céleste, who was worth a lot more than him? What did it matter that Marie now offered
her lips to a new Meursault? Couldn’t he, couldn’t this condemned man see … And that from somewhere deep in my future … All the shouting had me gasping for air. But they were already tearing the chaplain from my grip and the guards were threatening me. He calmed them, though, and looked at me for a moment without saying anything. His eyes were full of tears. Then he turned and disappeared.

With him gone, I was able to calm down again. I was exhausted and threw myself on my bunk. I must have fallen asleep, because I woke up with the stars in my face. Sounds of the countryside were drifting in. Smells of night, earth, and salt air were cooling my temples. The wondrous peace of that sleeping summer flowed through me like a tide. Then, in the dark hour before dawn, sirens blasted. They were announcing departures for a world that now and forever meant nothing to me. For the first time in a long time I thought about Maman. I felt as if I understood why at the end of her life she had taken a “fiance,” why she had played at beginning again. Even there, in that home where lives were fading out, evening was a kind of wistful respite. So close to death, Maman must have felt free then and ready to live it all again. Nobody, nobody had the right to cry over her. And I felt ready to live it all again too. As if that blind rage had washed me clean, rid me of hope; for the first time, in that night alive with signs and stars, I opened myself to the gentle indifference of the world. Finding it so much like myself—so like a
brother, really—I felt that I had been happy and that I was happy again. For everything to be consummated, for me to feel less alone, I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate.

ALBERT CAMUS

A
LBERT
C
AMUS
was born in Algeria in 1913. He spent the early years of his life in North Africa, where he became a journalist, and from 1935 to 1938 he ran the Théâtre de l’Équipe, a company that produced plays by Malraux, Gide, Synge, Dostoyevsky, and others. During World War II he was one of the leading writers of the French Resistance and editor of
Combat
, an underground newspaper he helped found. His fiction, including
The Stranger
,
The Plague
,
The Fall
,
and Exile and the Kingdom;
his philosophical essays,
The Myth of Sisyphus
and
The Rebel
; and his plays have assured his preeminent position in modern letters. In 1957, Camus was awarded the Nobel Prize for Literature. Upon his untimely death in a road accident in 1960, Jean-Paul Sartre wrote, “Camus could never cease to be one of the principal forces in our cultural domain, nor to represent, in his own way, the history of France and this century.”

ALSO BY
Albert Camus

Winner of the Nobel Prize for Literature

THE FIRST MAN

In
The First Man
Albert Camus tells the story of Jacques Cormery, a boy who lived a life much like Camus’ own. Camus summons up the sights, sounds, and textures of a childhood circumscribed by poverty and a father’s death yet redeemed by the austere beauty of Algeria and the boy’s attachment to his nearly deaf-mute mother. The result is a moving journey through the lost landscape of youth that also discloses the wellsprings of Camus’ aesthetic powers and moral vision. Published thirty-five years after its discovery amid the wreckage of the car accident that killed its author,
The First Man
is the brilliant consummation of the life and work of one of the twentieth century’s greatest novelists.

Fiction/Literature

EXILE AND THE KINGDOM

From a variety of masterfully rendered perspectives, these six stories depict people at painful odds with the world around them. A wife can only surrender to a desert night by betraying her husband. An artist struggles to honor his own aspirations as well as society’s expectations of him. A missionary brutally converted to the worship of a tribal fetish is left with but an echo of his identity. Whether set in North Africa, Paris, or Brazil, the stories in
Exile and the Kingdom
are probing portraits of spiritual exile and man’s perpetual search for an inner kingdom in which to be reborn. They display Camus at the height of his powers.

Fiction/Literature

THE FALL

Mordant, brilliant, elegantly styled, The Fall is a novel of the conscience of modern man in the face of evil. In a seedy bar in Amsterdam, Clamence, an expatriate Frenchman, indulges in a calculated confession. He recalls his past life as a respected Parisian lawyer, a champion of noble causes, and, privately, a libertine—yet one apparently immune to judgment. As his narrative unfolds, ambiguities amass; every triumph reveals a failure, every motive a hidden treachery. The irony of his recital anticipates his downfall—and implicates us all.

Fiction/Literature

A HAPPY DEATH

In his first novel,
A Happy Death
, written when he was in his early twenties and retrieved from his private papers following his death in 1960, Albert Camus laid the foundation for the
The Stranger
, focusing in both works on an Algerian clerk who kills a man in cold blood. But he also revealed himself to an extent that he never did in his later fiction. For if
A Happy Death
is the study of a rule-bound being shattering the fetters of his existence, it is also a remarkably candid portrait of its author as a young man.

Fiction/Literature

THE MYTH OF SISYPHUS AND OTHER ESSAYS

One of the most influential works of this century,
The Myth of Sisyphus and Other Essays
is a crucial exposition of existential thought. Influenced by works such as
Don Juan
and the novels of Kafka, these essays begin with a meditation on suicide: the question of living or not living in a universe devoid of order or meaning. With lyric eloquence, Albert Camus brilliantly posits a way out of despair, reaffirming the value of personal existence, and the possibility of life lived with dignity and authenticity.

Nonfiction/Literature

THE PLAGUE

A gripping tale of unrelieved horror, of survival and resilience, and of the ways in which humankind confronts death,
The Plague
is at once a masterfully crafted novel, eloquently understated and epic in scope, and a parable of ageless moral resonance profoundly relevant to our times. In Oran, a coastal town in North Africa, the plague begins as a series of portents, unheeded by the people. It gradually becomes an omnipresent reality, obliterating all traces of the past and driving its victims to almost unearthly extremes of suffering, madness, and compassion.

Fiction/Literature

THE REBEL

For Albert Camus, the urge to revolt is one of the “essential dimensions” of human nature, manifested in man’s timeless Promethean struggle against the conditions of his existence, as well as the popular uprisings against established orders throughout history. And yet, with an eye toward the French Revolution and its regicides and deicides, he shows how inevitably the course of revolution leads to tyranny. As old regimes throughout the world collapse,
The Rebel
resonates as an ardent, eloquent, and supremely rational voice of conscience for our tumultuous times.

Nonfiction/Literature

RESISTANCE, REBELLION, AND DEATH

Resistance, Rebellion, and Death
displays Camus’ rigorous moral intelligence addressing issues that range from colonial warfare in Algeria to the social cancer of capital punishment. But this stirring book is above all a reflection on the problem of freedom, and, as such, belongs in the same tradition as the works that gave Camus his reputation as the conscience of our century:
The Stranger, The Rebel
, and
The Myth of Sisyphus
.

Fiction/Literature

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