The Stranger (novel) 45896 226067229 2008-07-16T18:03:26Z Robina Fox 1765847 Format, headings {{infobox Book | | name = The Stranger/The Outsider | image = [[Image:TheStranger BookCover3.jpg|200px]] | author = [[Albert Camus]] | cover_artist = | country = [[France]] | language = Translated from [[French language|French]] | genre = [[Absurdist]], [[Existentialist]] | publisher = [[Éditions Gallimard|Libraire Gallimard]] | release_date = [[1943]], French [[1942]] | media_type = Print ([[Hardback]] & [[Paperback]]) | pages = 117 p. (UK Penguin Classics paperback edition) | isbn = ISBN 0-14-118250-4 (UK Penguin Classics paperback) }} '''''The Stranger''''', or '''''The Outsider''''', (from the [[French language|French]] '''''L’Étranger''''', [[1942]]) is a [[novel]] by [[Albert Camus]]. It is one of the best-known examples of [[absurdism|absurdist]] [[fiction]], and one of the most famous novels of the twentieth century. ==Plot introduction== The novel tells the story of a man, Meursault, who eventually kills a man. The story continues as Meursault waits to be executed. The book uses a pre-World War II Algeria in setting drawn from Camus's own upbringing. Meursault turns down a job promotion that would transfer him to Paris for inexplicable reasons. ==Plot summary== At the start of the novel, Meursault attends his mother's funeral, where he does not express any of the usual emotions that such an event often induces. He is asked if he wants to view the body of his mother but declines. Meursault had send his mother there because it was a place for old people. The novel goes on to document the next few days of his life through the first-person narrative first person point-of-view. His bestfriends one of his neighbours, Raymond Sintès, of whom Meursault aids in dismissing his Arab girlfriend because Raymond suspects her of infidelity. Later, Raymond and Meursault encounter her brothers on a beach. Raymond is injured in a resulting knife fight. After retreating, Meursault returns to the beach and shoots one of them in response to the glare of the sun. Consequently, "The Arab" is killed. Meursault then fires four more times into the dead body. At the trial, the prosecuting attorneys seem more interested in the inability or unwillingness of Meursault to cry at his mother's funeral than the murder of the Arab, because they don't believe him capable of remorse. The argument follows that if Meursault is incapable of remorse, he should be considered a dangerous [[misanthropy|misanthrope]] who should be executed by [[guillotine]] in order to set an example for others who consider murder. As the novel comes to a close, Meursault meets with a chaplain and becomes enraged by the chaplain's insistence that he turn to [[God]]. The novel ends with Meursault recognizing the universe's indifference toward humankind. The final lines echo his new realization: "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."<ref>Camus, Albert. ''The Stranger'', Matthew Ward translation, 1989.</ref> == The background and philosophy == {{Original research|date=September 2007}} [[Albert Camus]], like Meursault, was a ''[[pied-noir]]'' (literally ''black foot'')&mdash;a Frenchman who lived in the [[Maghreb]], the northernmost crescent of [[Africa]] along the [[Mediterranean Sea]], the heart of the French colonies. Usually classed as an [[existentialism|existential]] novel, ''The Stranger'' is indeed based on Camus's theory of the [[absurdism|absurd]]. In the first half of the novel Meursault is clearly an unreflecting, unapologetic individual. He is moved only by sensory experiences (the funeral procession, swimming at the beach, sexual intercourse with Marie, etc). Camus is reinforcing his basic thesis that there is no [[Truth]], only (relative) truths&mdash;and, in particular, that truths in [[science]] ([[empiricism]]/[[rationality]]) and [[religion]] are ultimately meaningless. Of course, Meursault himself isn't directly aware of any of this -- his awareness of the absurd is unconscious at best; it 'colours' his actions. But Camus's basic point remains: the only real things are those that we experience physically. Thus, Meursault kills the Arab because of his response to the glaring sun, which beats down upon him as he moves toward his 'adversary' on the beach. The death of the Arab isn't particularly meaningful in itself: it's merely something else that 'happens' to Meursault. The significance of this episode is that it forces his life (and its meaning) as he contemplates his impending execution. Only by being tried and sentenced to death is Meursault forced to acknowledge his own [[mortality]] and the responsibility he has for his own life. Another theme is [[destiny]]; Camus suggests that we are responsible for our actions and their consequences ([[free will]] or [[existentialism]]). Truth is another motif in the book. Meursault, despite being judged by many of his contemporaries as [[amoral]], is consistently honest and direct. In his unyielding candor, he never displays emotions that he does not feel. Neither does he participate in social conventions calling for dishonesty. Although [[grief]] is considered the socially acceptable or "normal" response, Meursault does not exhibit grief at his mother's funeral. This incorruptible honesty takes on a naïve dimension when he goes through the trial process; he questions the need for a lawyer, claiming that the truth should speak for itself. Much of the second half of the book involves this theme of the arbitrariness of "[[justice]]". A public official compiling the details of the case tells Meursault he will be saved if he repents and turns to [[Christianity]], but Meursault refuses to pretend he has found religion. More generally, Meursault's honesty overrides his self-preservation instinct; he ultimately accepts punishment for his actions, and refuses to try evading justice. As previously mentioned, a main theme is the absurd, and it is a theme that at times throughout the book seems to override the 'responsibility' aspect of the powerful ending. The ending seems to reflect that Meursault is in fact satisfied with his demise, to the extent that one can be satisfied with [[death]], while also of course being terrified, whereas the erstwhile sensory observations, which were mostly stand-alone and, if they did impact him, did so in terms of something physical (e.g. "I became tired"), become very relevant to his self and being. It seems that, in facing death, he's found [[revelation]] and happiness. But even that revelation was in the "gentle indifference of the world". A central contributor to this theme was that of the pause after he shot the Arab for the first time. In one key moment, while being interviewed by the magistrate, he mentions how it did not matter that he waited and shot four more times. In this incident, Meursault thinks completely objectively, and truly there is no difference in tangible results: the Arab died in one shot, and four more shots did not make him any "more" dead. This is seen also in his reflection on the absurdity of humanity creating a justice system to impose such meaningful actions as "death" upon a human: "The fact that the [death] sentence had been read at eight o'clock at night and not at five o'clock... the fact that it had been handed down in the name of some vague notion called the French (or German, or Chinese) people--all of it seemed to detract from the seriousness of the decision". In writing the novel Camus was influenced by other existentialists such as [[Jean-Paul Sartre]] and [[Martin Heidegger]] {{Fact|date=June 2008}}. Camus and Sartre in particular had been involved in the [[French resistance]] during [[World War II]] and were friends until ultimately differing on their philosophical stances. Ultimately, Camus presents the world as essentially [[meaningless]] and therefore, the only way to arrive at any meaning or purpose is to make it oneself. Thus it is the individual and not the act that gives meaning to any given context. Camus deals with this issue, as well as man's relationship to man and issues such as [[suicide]] in his other works such as ''[[A Happy Death]]'' and ''[[The Plague]],'' as well as his non-fiction works such as ''[[The Rebel]]'' and ''[[The Myth of Sisyphus]]''. ==English translations== The original French language novel was first published by [[Éditions Gallimard|Libraire Gallimard]] in [[Paris]] in 1942. In [[1946]], it was first [[Translation|translated]] into [[English language|English]] by [[United Kingdom|British]] author [[Stuart Gilbert]] and this translation was read by millions for over four decades. A second English translation was published in 1982 by British publishing house [[Hamish Hamilton]]. This translation, by Joseph Laredo, was adopted by [[Penguin Books]] in 1983 and reprinted for Penguin Classics in 2000. In [[1989]], another translation by [[United States|American]] [[Matthew Ward (writer)|Matthew Ward]] was published.<ref>[http://www.nytimes.com/books/97/12/14/home/camus-americanized.html Classic French Novel Is 'Americanized'] By Herbert Mitgang, ''The New York Times'', [[April 18]], [[1988]], retrieved [[September 9]], [[2006]]</ref> The tone of the three English translations is quite different, with the Gilbert translation exhibiting a more formal tone. An example of this difference can be found in the first sentence of the first chapter: *Original French: "Aujourd'hui, maman est morte. Ou peut-être hier, je ne sais pas. J'ai reçu un télégramme de l'asile: ''Mère décédée. Enterrement demain. Sentiments distingués.'' Cela ne veut rien dire. C'était peut-être hier" *Gilbert translation: "Mother died today. Or, maybe, yesterday; I can't be sure. The telegram from the Home says: YOUR MOTHER PASSED AWAY. FUNERAL TOMORROW. DEEP SYMPATHY. Which leaves the matter doubtful; it could have been yesterday." *Ward translation: "Maman died today. Or yesterday maybe, I don't know. I got a telegram from the home: ''Mother deceased. Funeral tomorrow. Faithfully yours.'' That doesn't mean anything. Maybe it was yesterday." ("Maman" is an informal French term translating to "Mom.") *Laredo translation: "Mother died today. Or maybe yesterday, I don't know. I had a telegram from the home: 'Mother passed away. Funeral tomorrow. Yours sincerely.' That doesn't mean anything. It may have been yesterday." ===Translation of the title=== {{Unreferenced|date=November 2007}} ''Étranger'' in French has several meanings. One is "[[foreign]]", as in exterior to one's country, while another is used to signify a generic person who is unknown, similar to "stranger." It could be argued that the title would be better translated as ''The Foreigner,'' as the main character is a foreigner, which would be fitting in the context that Meursault was a man of French origins living in Algeria. However, knowing Camus's position in regard to Algeria, it may not mean "foreigner" because the character Meursault is a [[pied-noir]], probably with several generations of family living in Algeria before him. Camus was known to advocate that pieds-noirs were as much citizens of Algeria as the Algerian population. Another translation of ''Étranger'' that could be used is an [[outsider]]. This would suit Meursault because he seems to feel that he is not the same as everyone else. Alternatively, "Foreigner" may appropriately describe Meursault in regards to his separation from the social norms of society. While not being conscious of the motifs he portrays, he lives his life existentially, without being encumbered by meaning exterior to his own experience, a trait that would make him seem "foreign" to his contemporaries. Most English translations use the title "The Stranger". However the title is also sometimes translated as "The Outsider". == References in popular culture == {{Trivia|date=June 2008}} *In [[film|cinema]], the novel was adapted to ''[[The Stranger (1967 film)|Lo Straniero]]'' ([[1967]]), directed by [[Luchino Visconti]], and ''[[Fate (movie)|Yazgi]]'' ([[2001]]), directed by [[Zeki Demirkubuz]]. *Comic book author [[Steve Gerber]] cites Camus, and in particular, ''The Stranger'', as his principal influence, particularly on ''[[Howard the Duck]]'' (1974-1978)--"Howard is Mersault with a sense of humor, an existentialist who screams and quacks as a hedge against sinking into utter despair."<ref>[http://www.silverbulletcomicbooks.com/features/99202219022753.htm Steve Gerber: An Absurd Journey], [[Darren Schroeder]], Silver Bullet Comic Books interview.</ref> Gerber also depicted [[Shanna the She-Devil]] reading the novel in her treehouse. *In popular music, it inspired songs by several artists, such as [[Blur (band)|Blur]], [[The Cure]] ("[[Killing an Arab]]")<ref>{{cite book |last=Larkin |first=Colin |authorlink=Colin Larkin |title=The Guinness Encyclopedia of Popular Music |publisher=[[Stockton Press]] |date=1995 |pages=1017 |isbn=0851126626}}</ref><ref>{{cite book |last=Strong |first=Charles Martin |authorlink=Charles Martin Strong |title=The Great Rock Discography: Complete Discographies Listing Every Track Recorded By More Than 1200 Artists |publisher=[[Canongate]] |date=2004 |pages=369 |isbn=1841956155}}</ref>, [[Aria (band)|Aria]], [[John Frusciante]] ("[[Head (Beach Arab)]]"), and [[Tuxedomoon]]. *In ''[[Talladega Nights: The Ballad of Ricky Bobby]]'', Ricky Bobby's nemesis, Jean Girard, is seen reading a copy of ''The Stranger'' in French. *In 2006, it was reported that [[George W. Bush]] read ''The Stranger'' while on vacation at his [[Crawford, Texas]] ranch, to the derision of the American press and comedy establishment (especially ''[[The Daily Show]]'').[http://www.salon.com/books/feature/2006/08/15/bayard][http://www.slate.com/id/2147662] *In ''[[Jarhead (film)|Jarhead]]'', the book is the main protagonist's reading. The first few lines from the book are read out loud by one of the Staff Sergeants. * In ''[[Jacob's Ladder (film)|Jacob's Ladder]]'', the protagonist, Jacob Singer, is seen reading the novel. * In the film ''[[The United States of Leland]]'', the main character, Leland, can be seen with a copy of ''The Stranger'' in his back pocket after receiving a ride home from Allen. * In the film ''[[Scenes of a Sexual Nature]]'', the character Molly notices her husband Jamie ogling a young French girl nearby, Sophie (Eglantine Rembauville-Nicolle). When he is challenged about it, he pretends he was looking at the book the girl was reading, ''L’Étranger''. * In the film ''[[Who's Camus Anyway?]]'', Japanese director, [[Mitsuo Yanagimachi]], makes several references to Camus, ''The Stranger'' and Meursault. * In ''[[A Complicated Kindness]]'' by [[Miriam Toews]], Naomi makes a list on how to better improve herself. The second entry on the list is to read ''The Outsider'' by Albert Camus. (page 99 of ''A Complicated Kindness''). * In [[Pete Hautman]]'s book, ''[[Sweetblood]]'', the main character, Lucy, reads this book. * In an episode of [[The Mighty Boosh (TV series)|The Mighty Boosh]], "[[The Nightmare of Milky Joe]]" (Seas. 2, Ep. 6), there is a conversation between [[Howard Moon]] and [[List of one-off characters from The Mighty Boosh#J|Milky Joe]], an anthropomorphosised [[coconut]], in which ''The Stranger'' is discussed. *The [[indie rock]] band [[Titus Andronicus]] uses the famous last line of ''The Stranger'' at the end of their song "No Future Part Two: The Day After No Future," from their album The Airing of Grievances. In addition, the final song on that album is entitled "Albert Camus." *[[Punk rock]] band [[The Lawrence Arms]] recited the book's last lines in their song "Asa Phelps Is Dead" from their album [[Ghost Stories (album)|Ghost Stories]]. ==References== {{reflist}} == See also == *[[Absurdism]] *[[Existentialism]] ==External links== * [http://www.paperstarter.com/thestranger.htm Thesis statements and important quotes from The Stranger] * [http://literapedia.wikispaces.com/L%27Etranger The Stranger] on [[Literapedia]] {{Camus}} {{DEFAULTSORT:Stranger, The}} [[Category:1942 novels]] [[Category:Existentialism]] [[Category:Novels by Albert Camus]] [[Category:Debut novels]] [[Category:Existentialist works]] [[Category:Fictional French people|Meursault]] [[als:Der Fremde]] [[bs:Stranac (roman)]] [[da:Den fremmede]] [[de:Der Fremde]] [[et:Võõras]] [[es:El extranjero]] [[eo:La fremdulo]] [[eu:Arrotza]] [[fa:بیگانه (کتاب)]] [[fr:L'Étranger]] [[hr:Stranac (roman)]] [[id:L'Étranger]] [[it:Lo straniero (romanzo)]] [[he:הזר]] [[lv:Svešinieks (romāns)]] [[hu:Közöny]] [[nl:De vreemdeling]] [[ja:異邦人 (小説)]] [[no:Den fremmede]] [[pl:Obcy (powieść)]] [[pt:L'étranger]] [[ro:Străinul]] [[ru:Посторонний]] [[sk:Cudzinec (Camus)]] [[sl:Tujec (roman)]] [[fi:Sivullinen]] [[sv:Främlingen]] [[vi:Người xa lạ]] [[zh:異鄉人]]