Bibliography
What follows are ten sources that will help students who are currently reading or plan to read Albert Camus's The Stranger. These materials should help readers by offering perspectives on things such as the author's philosophy and arguments surrounding the piece and will hopefully act as a good starting point for anybody planning to do their own research on The Stranger.
Brock, Robert R. "Meursault the Straw Man." Studies in the Novel 1 April 1993: 92-100. Print.
In, “Meursault the Straw Man” (1993), Brock claims that the Arab in The Stranger only exists in the story to put Meursault on trial. The author begins by quoting other writers who point out that many people shoehorn in their opinion of how the story would have progressed if they had written it. He continues by bringing evidence against some interpretations of what the Arab and Meursault’s final walk on the beach represent, working especially to disprove the idea that Camus was anti-Arab. Having addressed some of the other potential interpretations, Brock asserts that the reason the Arab has no defining features (a name, a face, relatives) is to create a murder with no victim, which forces the reader to focus solely on Meursault and his point of view. The article is probably aimed at experienced Camus scholars, considering the fact that it mentions interpretations of parts of The Stranger with little introduction like he is assuming the reader has already heard about them. The article helps people who are new to examining The Stranger by introducing them to a few theories about the Arab man’s significance in the story and reminding the reader to avoid projecting him or herself onto the book.
Camus, Albert. “Preface to the American Edition of the Stranger.” (n.d.): n. pag. Rpt. In Modern Critical Interpretations: The Stranger. By Harold Bloom. Pennsylvania: Chelsea House,, 2001. 19-20. Print.
In Preface to the American Edition of the Stranger (2001), Albert Camus states his purpose and intent for the character of Meursault. He begins by explaining exactly how Meursault does not fit into society with his choice not to lie. He continues to explain that this choice condemns him to society, and how he does not view Meursault as a social outcast, but rather, as someone who is intent on the truth. Camus’ intended audience is those individuals who will read this edition, and his purpose is to shed some light on the complicated character of Meursault. This is an incredibly useful source for any student because it is a primary source from the author himself, and gives true insight into his intentions for such a befuddling character as Meursault.
Champigny, Robert. A Pagan Hero: A Interpretation of Meursault in Camus' The Stranger. Translated by Rowe Portis. Philadelphia: University of Pennsylvania, 1969. Print.
In Chapter 2, entitled “Innocence,” of A Pagan Hero (1969), Robert Champigny discusses the similarities between Meursault’s behavior in Camus’s The Stranger, and the behavior of a child. To support this he cites examples of Meursault’s short attention span, tendency to daydream, and frequent loss of interest in surrounding his occurrences. Champigny also categorizes Meursault’s actions as “pagan,” a word he defines as person who seeks natural pleasure and eliminates discomfort, in accordance with Greek Epicurean values. He contrasts this pagan behavior with his definition of “Christian” behavior, which he defines as a person who attempts to separate from their natural impulses and live according to a set of rules, and also romanticizes their values and social constructs. Through these observations and definitions, Champigny reshapes the character of Meursault as an innocent, childish pagan rather than a heartless introvert. This offers the literal analysis community surrounding The Stranger a new take on why Camus’s character behaves the way he does.
Champigny, Robert. "Ethics and Aesthetics in The Stranger." (n.d.): n. pag. Rpt. In Modern Critical Interpretations: The Stranger. By Harold Bloom. Pennsylvania: Chelsea, 2001. 47-56. Print.
In “Ethics and Aesthetics in The Stranger” (2001), Robert Champigny accurately establishes definitions of ‘ethics’ as the behavioral aspects and ‘aesthetics’ as the physical aspects, so the reader is easily able to apply their meanings to Meursault. He uses a philosophical approach to engage the reader and allow them to view Meursault’s life in a much more analytical way by giving examples of Meursault’s actions and placing them in either the ‘ethics’ or ‘aesthetics’ category. This academic essay focuses on anyone trying to learn more about Meursault, and why he acts the way he does, as well as people interested in a philosophical approach to view the way of life and society in The Stranger.
Girard, Rene. "Camus's Stranger Retried." (n.d.): n. pag. Rpt. in Modern Critical Interpretations: The Stranger. By Harold Bloom. Pennsylvania: Chelsea, 2001. 57-82. Print.
In “Camus’s Stranger Retried” (2001), Rene Girard focuses mainly on the trial of Meursault, and all of its attendees. The reader is given another chance to form a different, more accurate opinion of the events that took place during Meursault’s prosecution through Girard’s efforts to focus on all of the details of the trial. Girard juxtaposes Camus’s The Stranger with another of Camus’s novels, The Fall, arguing that the presence of trials in both novels, and the different outcomes of these trials demonstrate a difference in Camus’s attitude toward life, depending on personal hardships of particular times in Camus’s life. He lets the reader know how Camus’s personal struggles influenced his writing, tone, and characters of his books, and how Camus’s writing became less sullen as he progressed and became more successful in life. This source is useful for students or anybody looking to enhance their knowledge of Camus and how his writing styles developed over time as he matured over the course of his career.
Robbe-Grillet, Alain. "Nature, Humanism, Tragedy." For a New Novel: Essays on Fiction. Grove, 1965. Print.
In Nature, Humanism, Tragedy (1965), Alain Robbe-Grillet explores the absurdity of Meursault’s connection with nature and inanimate things. Meursault’s relationship with nature is perceived to go beyond the common metaphor – controlling his thoughts and actions at many standpoints in his life. Robbe-Grillet uses Camus’s absurdist philosophy to support Meursault’s detachment from people and the opposite approach to his physical environment. This absurdity is regarded as a form of tragic humanism, where nature is set up to provoke unhappiness because of how stable it is, contrasted with the impulsive lives of humans. Through the chapter, the author provides a means to take a look at the complexity of absurdity and how it is embedded within The Stranger, for any readers that wish to learn about the parallels that surround an absurdist principle.
Scherr, Arthur. "Lost In Translation? A Note On Sexuality In L'etranger." Romance Notes 52.3 (2012): 263-277. Literary Reference Center. Web. 9 Mar. 2015.
In Lost in Translation? A Note on Sexuality in L’Etranger (2012), Arthur Scherr disputes the translations of The Stranger and how one in particular, Stuart Gilbert’s translation, was thought to be incorrect by Helen Sebba, another translator. Sebba brings up many discrepancies between the actual novel and the translation, pointing out instances where Meursault’s uniqueness and complexity go understated in the translation. On closer examination, Scherr discovers the importance placed on a natural perception of Meursault by Gilbert, as opposed to Sebba’s other-worldly persona of Meursault. In turn, the sexuality of Meursault is studied with his reliance on physical reactions being contested against reliance on inner feelings. This could potentially benefit any reader that is interested in the differences between translations of The Stranger, and is open to exploring such contrasts to find differently portrayed personas of the characters.
Scherr, Arthur. “Meursault’s Dinner with Raymond: A Christian Theme in Albert Camus’s L’etranger.” Christianity & Literature 58.2 (2009): 187-210. Religion and Philosophy Collection. Web. 1 Apr. 2015.
In Meursault’s Dinner with Raymond: A Christian Theme in Albert Camus’ L’etranger (2009), Arthur Scherr examines the parallels between Meursault’s character and that of Jesus Christ. Using primary evidence from Camus, he states that he created Meursault as the only Christ we deserve, meaning that society didn’t deserve the true depiction of Jesus Christ. He goes on to use supporting evidence from other authors and the book itself, likening the trial to Jesus’ last judgment. He also focuses on the irony of Camus’ vast knowledge of religious aspects, but his refusal to believe any of them. Scherr’s intended audience includes any other literary scholar studying Camus, and his purpose is to open their eyes to Camus’ intentions with Meursault’s character. This piece is extremely useful to students, as it provides a unique perspective on Meursault’s character, along with contextual information about Camus that helps to put the entire novel into a new perspective.
Showalter, English. The Stranger: Humanity and the Absurd. Boston: Twayne Publishers, 1989. Print.
In the seventh chapter, “Meursault: Hero and Stranger”, of The Stranger: Humanity and the Absurd (1989), English Showalter, Jr. asserts that, despite what Camus himself has said, Meursault does play the metaphorical game of social etiquette and touches on how Meursault’s occasional failings at the game offended the people at his trial. Showalter points out that Meursault seems to be at least somewhat concerned about the way he appears to people, especially his boss, the people at the Marengo home, and the people involved in organizing his trial. He also points out that, although Meursault’s odd behaviors occasionally made people feel uneasy, they would usually brush off the feeling. The ideas discussed in the chapter tend to come back to the Showalter’s assertion that Meursault does play ‘the game’ and that nobody would have thought twice about Meursault’s quirks if he hadn’t murdered somebody. The article has fairly simple to understand language that leans itself toward a general audience. The chapter examines Meursault’s priorities and psych in a way that is easy for inexperienced readers to understand.
Sprintzen, David. Camus: A Critical Examination. Philadelphia: Temple University Press, 1988.
In Camus: A Critical Examination (1988), David Sprintzen examines Meursault’s perspective and life philosophy, and how that influenced people’s view of him. Sprintzen begins his work with providing a basis for describing Meursault, and his view of the world. Sprintzen describes Meursault as a person who lives in the moment, responds to natural impulses, believes in a cyclical and habitual existence, and does not participate in nor value social constructions, such as ambition or future planning. Meursault responds to what happens at the time, without thought to the past or future. On the other hand, normal people put value into their established rituals and search for personal meaning. Spritzer explains that during the trial the prosecution attempts to impose their world view of meaning and premeditation onto Meursault, which he rejects in favor of his natural, impulsive existence. This misunderstanding leads to his death sentence. Through this examination of Meursault, Sprintzen offers scholarly readers his take on the reasoning behind Meursault’s actions in the novel, and contributes a unique perspective of this character to the academic conversation surrounding The Stranger.
Brock, Robert R. "Meursault the Straw Man." Studies in the Novel 1 April 1993: 92-100. Print.
In, “Meursault the Straw Man” (1993), Brock claims that the Arab in The Stranger only exists in the story to put Meursault on trial. The author begins by quoting other writers who point out that many people shoehorn in their opinion of how the story would have progressed if they had written it. He continues by bringing evidence against some interpretations of what the Arab and Meursault’s final walk on the beach represent, working especially to disprove the idea that Camus was anti-Arab. Having addressed some of the other potential interpretations, Brock asserts that the reason the Arab has no defining features (a name, a face, relatives) is to create a murder with no victim, which forces the reader to focus solely on Meursault and his point of view. The article is probably aimed at experienced Camus scholars, considering the fact that it mentions interpretations of parts of The Stranger with little introduction like he is assuming the reader has already heard about them. The article helps people who are new to examining The Stranger by introducing them to a few theories about the Arab man’s significance in the story and reminding the reader to avoid projecting him or herself onto the book.
Camus, Albert. “Preface to the American Edition of the Stranger.” (n.d.): n. pag. Rpt. In Modern Critical Interpretations: The Stranger. By Harold Bloom. Pennsylvania: Chelsea House,, 2001. 19-20. Print.
In Preface to the American Edition of the Stranger (2001), Albert Camus states his purpose and intent for the character of Meursault. He begins by explaining exactly how Meursault does not fit into society with his choice not to lie. He continues to explain that this choice condemns him to society, and how he does not view Meursault as a social outcast, but rather, as someone who is intent on the truth. Camus’ intended audience is those individuals who will read this edition, and his purpose is to shed some light on the complicated character of Meursault. This is an incredibly useful source for any student because it is a primary source from the author himself, and gives true insight into his intentions for such a befuddling character as Meursault.
Champigny, Robert. A Pagan Hero: A Interpretation of Meursault in Camus' The Stranger. Translated by Rowe Portis. Philadelphia: University of Pennsylvania, 1969. Print.
In Chapter 2, entitled “Innocence,” of A Pagan Hero (1969), Robert Champigny discusses the similarities between Meursault’s behavior in Camus’s The Stranger, and the behavior of a child. To support this he cites examples of Meursault’s short attention span, tendency to daydream, and frequent loss of interest in surrounding his occurrences. Champigny also categorizes Meursault’s actions as “pagan,” a word he defines as person who seeks natural pleasure and eliminates discomfort, in accordance with Greek Epicurean values. He contrasts this pagan behavior with his definition of “Christian” behavior, which he defines as a person who attempts to separate from their natural impulses and live according to a set of rules, and also romanticizes their values and social constructs. Through these observations and definitions, Champigny reshapes the character of Meursault as an innocent, childish pagan rather than a heartless introvert. This offers the literal analysis community surrounding The Stranger a new take on why Camus’s character behaves the way he does.
Champigny, Robert. "Ethics and Aesthetics in The Stranger." (n.d.): n. pag. Rpt. In Modern Critical Interpretations: The Stranger. By Harold Bloom. Pennsylvania: Chelsea, 2001. 47-56. Print.
In “Ethics and Aesthetics in The Stranger” (2001), Robert Champigny accurately establishes definitions of ‘ethics’ as the behavioral aspects and ‘aesthetics’ as the physical aspects, so the reader is easily able to apply their meanings to Meursault. He uses a philosophical approach to engage the reader and allow them to view Meursault’s life in a much more analytical way by giving examples of Meursault’s actions and placing them in either the ‘ethics’ or ‘aesthetics’ category. This academic essay focuses on anyone trying to learn more about Meursault, and why he acts the way he does, as well as people interested in a philosophical approach to view the way of life and society in The Stranger.
Girard, Rene. "Camus's Stranger Retried." (n.d.): n. pag. Rpt. in Modern Critical Interpretations: The Stranger. By Harold Bloom. Pennsylvania: Chelsea, 2001. 57-82. Print.
In “Camus’s Stranger Retried” (2001), Rene Girard focuses mainly on the trial of Meursault, and all of its attendees. The reader is given another chance to form a different, more accurate opinion of the events that took place during Meursault’s prosecution through Girard’s efforts to focus on all of the details of the trial. Girard juxtaposes Camus’s The Stranger with another of Camus’s novels, The Fall, arguing that the presence of trials in both novels, and the different outcomes of these trials demonstrate a difference in Camus’s attitude toward life, depending on personal hardships of particular times in Camus’s life. He lets the reader know how Camus’s personal struggles influenced his writing, tone, and characters of his books, and how Camus’s writing became less sullen as he progressed and became more successful in life. This source is useful for students or anybody looking to enhance their knowledge of Camus and how his writing styles developed over time as he matured over the course of his career.
Robbe-Grillet, Alain. "Nature, Humanism, Tragedy." For a New Novel: Essays on Fiction. Grove, 1965. Print.
In Nature, Humanism, Tragedy (1965), Alain Robbe-Grillet explores the absurdity of Meursault’s connection with nature and inanimate things. Meursault’s relationship with nature is perceived to go beyond the common metaphor – controlling his thoughts and actions at many standpoints in his life. Robbe-Grillet uses Camus’s absurdist philosophy to support Meursault’s detachment from people and the opposite approach to his physical environment. This absurdity is regarded as a form of tragic humanism, where nature is set up to provoke unhappiness because of how stable it is, contrasted with the impulsive lives of humans. Through the chapter, the author provides a means to take a look at the complexity of absurdity and how it is embedded within The Stranger, for any readers that wish to learn about the parallels that surround an absurdist principle.
Scherr, Arthur. "Lost In Translation? A Note On Sexuality In L'etranger." Romance Notes 52.3 (2012): 263-277. Literary Reference Center. Web. 9 Mar. 2015.
In Lost in Translation? A Note on Sexuality in L’Etranger (2012), Arthur Scherr disputes the translations of The Stranger and how one in particular, Stuart Gilbert’s translation, was thought to be incorrect by Helen Sebba, another translator. Sebba brings up many discrepancies between the actual novel and the translation, pointing out instances where Meursault’s uniqueness and complexity go understated in the translation. On closer examination, Scherr discovers the importance placed on a natural perception of Meursault by Gilbert, as opposed to Sebba’s other-worldly persona of Meursault. In turn, the sexuality of Meursault is studied with his reliance on physical reactions being contested against reliance on inner feelings. This could potentially benefit any reader that is interested in the differences between translations of The Stranger, and is open to exploring such contrasts to find differently portrayed personas of the characters.
Scherr, Arthur. “Meursault’s Dinner with Raymond: A Christian Theme in Albert Camus’s L’etranger.” Christianity & Literature 58.2 (2009): 187-210. Religion and Philosophy Collection. Web. 1 Apr. 2015.
In Meursault’s Dinner with Raymond: A Christian Theme in Albert Camus’ L’etranger (2009), Arthur Scherr examines the parallels between Meursault’s character and that of Jesus Christ. Using primary evidence from Camus, he states that he created Meursault as the only Christ we deserve, meaning that society didn’t deserve the true depiction of Jesus Christ. He goes on to use supporting evidence from other authors and the book itself, likening the trial to Jesus’ last judgment. He also focuses on the irony of Camus’ vast knowledge of religious aspects, but his refusal to believe any of them. Scherr’s intended audience includes any other literary scholar studying Camus, and his purpose is to open their eyes to Camus’ intentions with Meursault’s character. This piece is extremely useful to students, as it provides a unique perspective on Meursault’s character, along with contextual information about Camus that helps to put the entire novel into a new perspective.
Showalter, English. The Stranger: Humanity and the Absurd. Boston: Twayne Publishers, 1989. Print.
In the seventh chapter, “Meursault: Hero and Stranger”, of The Stranger: Humanity and the Absurd (1989), English Showalter, Jr. asserts that, despite what Camus himself has said, Meursault does play the metaphorical game of social etiquette and touches on how Meursault’s occasional failings at the game offended the people at his trial. Showalter points out that Meursault seems to be at least somewhat concerned about the way he appears to people, especially his boss, the people at the Marengo home, and the people involved in organizing his trial. He also points out that, although Meursault’s odd behaviors occasionally made people feel uneasy, they would usually brush off the feeling. The ideas discussed in the chapter tend to come back to the Showalter’s assertion that Meursault does play ‘the game’ and that nobody would have thought twice about Meursault’s quirks if he hadn’t murdered somebody. The article has fairly simple to understand language that leans itself toward a general audience. The chapter examines Meursault’s priorities and psych in a way that is easy for inexperienced readers to understand.
Sprintzen, David. Camus: A Critical Examination. Philadelphia: Temple University Press, 1988.
In Camus: A Critical Examination (1988), David Sprintzen examines Meursault’s perspective and life philosophy, and how that influenced people’s view of him. Sprintzen begins his work with providing a basis for describing Meursault, and his view of the world. Sprintzen describes Meursault as a person who lives in the moment, responds to natural impulses, believes in a cyclical and habitual existence, and does not participate in nor value social constructions, such as ambition or future planning. Meursault responds to what happens at the time, without thought to the past or future. On the other hand, normal people put value into their established rituals and search for personal meaning. Spritzer explains that during the trial the prosecution attempts to impose their world view of meaning and premeditation onto Meursault, which he rejects in favor of his natural, impulsive existence. This misunderstanding leads to his death sentence. Through this examination of Meursault, Sprintzen offers scholarly readers his take on the reasoning behind Meursault’s actions in the novel, and contributes a unique perspective of this character to the academic conversation surrounding The Stranger.