Albert Camus

Jean-Baptiste Clamence is a soul in turmoil. Over several drunken nights in an Amsterdam bar, he regales a chance acquaintance with his story. From this successful former lawyer and seemingly model citizen a compelling, self-loathing catalogue of guilt, hypocrisy and alienation pours forth. The Fall (French: La Chute) is a philosophical novel by Albert Camus. First published in 1956, it is his last complete work of fiction. The Fall explores themes of innocence, imprisonment, non-existence, and truth. In a eulogy to Albert Camus, existentialist philosopher Jean-Paul Sartre described the novel as "perhaps the most beautiful and the least understood" of Camus' books.

One of the most influential works of this century, this is a crucial exposition of existentialist 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 an absurd universe devoid of order or meaning. With lyric eloquence, Camus posits a way out of despair, reaffirming the value of personal existence, and the possibility of life lived with dignity and authenticity.

The unfinished manuscript of The First Man was discovered in the wreckage of a car accident in which Camus died in 1960. Although it was not published for over thirty years, it was an instant bestseller when it finally appeared in 1994. The 'first man' is Jacques Cormery, whose poverty-stricken childhood in Algiers is made bearable by his love for his silent and illiterate mother, and by the teacher who transforms his view of the world. The most autobiographical of Camus's novels, it gives profound insights into his life, and the powerful themes underlying his work.

Alternate cover edition of ISBN 9782070386703. Ange en quête d'absolu ? Monstre sanguinaire ? Avant la guerre, Albert Camus conçoit Caligula, ainsi que Sisyphe ou Meursault (L'Étranger), comme un héros de l'Absurde. En 1945, la pièce est reçue comme une fable sur les horreurs du nazisme. Ses versions et ses mises en scène successives, l'évolution de la sensibilité du public ont contribué à faire de Caligula une des figures les plus troublantes de notre théâtre. À l'image du tyran se superposent, dans notre mémoire, les visages de Gérard Philipe, qui créa le rôle, et celui d'Albert Camus, qui mêla toujours au besoin de tendresse et à l'exigence de pureté une étrange «fixation au meurtre» et «cette violence intérieure» (Jean Grenier) qui anime son empereur romain.

Condamné à mort, Meursault. Sur une plage algérienne, il a tué un Arabe. À cause du soleil, dira-t-il, parce qu'il faisait chaud. On n'en tirera rien d'autre. Rien ne le fera plus réagir : ni l'annonce de sa condamnation, ni la mort de sa mère, ni les paroles du prêtre avant la fin. Comme si, sur cette plage, il avait soudain eu la révélation de l'universelle équivalence du tout et du rien. La conscience de n'être sur la terre qu'en sursis, d'une mort qui, quoi qu'il arrive, arrivera, sans espoir de salut. Et comment être autre chose qu'indifférent à tout après ça ? Étranger sur la terre, étranger à lui-même, Meursault le bien nommé pose les questions qui deviendront un leitmotiv dans l'oeuvre de Camus. De La Peste à La Chute, mais aussi dans ses pièces et dans ses essais, celui qui allait devenir Prix Nobel de littérature en 1957 ne cessera de s'interroger sur le sens de l'existence. Sa mort violente en 1960 contribua quelque peu à rendre mythique ce maître à penser de toute une génération.

Qu'il suive le fil d'Ariane sur les traces du Minotaure pour évoquer Oran et ses alentours, qu'il revisite le mythe de Prométhée à la lumière de la violence du monde moderne, ou qu'il rêve à la beauté d'Hélène et de la Grèce, Albert Camus nous entraîne tout autour de la Méditerranée et de ses légendes. Un court recueil de textes lyriques et passionnés pour voyager de l'Algérie à la Grèce en passant par la Provence.

Le 19 mars 1944, Albert Camus et Maria Casarès se croisent chez Michel Leiris, lors de la fameuse représentation-lecture du Désir attrapé par la queue de Pablo Picasso. L'ancienne élève du Conservatoire national d'art dramatique, originaire de La Corogne (Galice) et fille d'un ancien président du Conseil de la Seconde République espagnole exilé à Paris en 1936, n'a alors que vingt-deux ans. Parlant parfaitement français, elle a débuté sa carrière d'actrice en 1942 au Théâtre des Mathurins, au moment où Albert Camus publiait L'Etranger et Le Mythe de Sisyphe chez Gallimard. Albert Camus vit alors seul à Paris, la guerre l'ayant éloigné depuis deux ans de son épouse Francine, enseignante à Oran. Sensible au jeu, au tempérament et à la beauté de l'actrice, Albert Camus lui confie le rôle de Martha pour la création de sa pièce Le Malentendu en juin 1944. Et durant la nuit du Débarquement en Normandie, sortant d'une soirée chez leur ami Charles Dullin, Albert Camus et Maria Casarès deviennent amants. Il ne s'agit là encore que du prélude à une grande histoire amoureuse ; car Maria décide de mettre fin à cette relation qui lui semble sans avenir, au vu de la situation conjugale de son amant. Mais quatre ans exactement après leur première déclaration, le 6 juin 1948, Albert et Maria se retrouvent, par un heureux hasard, sur un boulevard parisien ; leur histoire commune reprend alors, plus passionnée que jamais, et sans interruption jusqu'à la mort accidentelle de l'écrivain, au début de l'année 1960. Durant toutes ces années, Albert et Maria n'ont jamais cessé de s'écrire, notamment lors des longues semaines de séparation dues à leur engagement artistique et intellectuel, aux séjours au grand air ou aux obligations familiales. Sur fond de vie publique et d'activité créatrice (les livres et les conférences, pour l'écrivain ; les tournées avec la Comédie-Française et le TNP pour l'actrice), leur correspondance croisée, demeurée inédite jusqu'à ce jour, révèle quelle fut l'intensité de leur relation intime, s'éprouvant dans le manque et l'absence autant que dans le consentement mutuel, la brûlure du désir, la jouissance des jours partagés, les travaux en commun et la quête du véritable amour, de sa parfaite formulation et de son accomplissement. Nous savions que l'oeuvre d'Albert Camus était traversée par la pensée et l'expérience de l'amour, jusqu'aux dossiers préparatoires du Premier Homme. La publication de cette immense correspondance révèle la pierre angulaire de cette constante préoccupation : l'amour, l'inévitable amour. "Quand on a aimé quelqu'un, on l'aime toujours", confiait Maria Casarès bien après la mort d'Albert Camus ; "lorsqu'une fois, on n'a plus été seule, on ne l'est plus jamais".

'The sky seemed to rip apart from end to end to pour fire down upon me' Meursault will not conform. When his mother dies, he refuses to show his emotions simply to satisfy the expectations of others. And when he commits a random act of violence on a sun-drenched beach, his lack of remorse only compounds his guilt in the eyes of society and law. Albert Camus' portrayal of a man confronting the absurdity of human life became an existentialist classic. Yet it is also a book filled with quiet joy in the "tender indifference" of the physical world, and Sandra Smith's new translation based on listening to a recording of Camus reading aloud, sensitively renders the subtleties and dreamlike atmosphere of The Outsider.

Throughout history, some books have changed the world. They have transformed the way we see ourselves—and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives—and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are. Inspired by the myth of a man condemned to ceaselessly push a rock up a mountain and watch it roll back to the valley below, The Myth of Sisyphus transformed twentieth-century philosophy with its impassioned argument for the value of life in a world without religious meaning.

Librarian's note: This is an Alternate Cover Edition for ISBN10: 972382809X ISBN13: 9789723828092. O Estrangeiro revelou e consagrou definitivamente Camus como um verdadeiro "clássico" da literatura contemporânea. Romance estranho, desconcertante sob uma aparente singeleza estilística, nele se joga o destino de um homem que viveu a vida de acordo com a sua sensibilidade e a evidência do absurdo de existir.

Серед письменників та інтелектуалів минулого сторіччя, творчість яких викликала великий інтерес серед інтелігенції Заходу й чинила на неї значний вплив, одне з чільних місць належить французькому письменнику, лауреату Нобелівської премії, Альберу Камю (1913-1960). Вагомість його внеску в літературу і духовну культуру ХХ сторіччя важко переоцінити. Цікавість сучасного читача до творів Камю аж ніяк не зменшилась. Тому можна з певністю сказати, що творчість цього письменника витримала найсуворішу і найсправедливішу перевірку - перевірку часом. Романи "Чужий", "Чума" та "Падіння", що представлені у цьому виданні, вважаються одними з найкращих у творчому доробку Камю. Їх об'єднує предмет роздумів письменника - це людина, її свідомість і психологія, її місце і доля в світі, її поведінка в різних життєвих ситуаціях

Four thought-provoking masterworks for the theater by the Nobel Prize–winning author of The Stranger and The Plague, in a restorative new translation by Ryan Bloom that brings together, for the first time in English, Camus's final versions of the plays, along with deleted scenes and alternate lines of dialogue. Though known for his novels that plumb the depths of absurdism, it was the theater stage that Camus called “one of the only places in the world I'm happy." After forming two troupes in his early twenties in Algeria, the prolific author moved to Paris for work, where between 1944-1949 he would go on to stage the four original plays gathered in this collection. Caligula, his first full-length work for the stage, begins with the infamous Roman emperor in the throes of grief at the death of his sister Drusilla and tugs at the same essential question that haunts so much of Camus’s Faced with the nullifying force of time, which snuffs out even our grandest emotions, how does one go on living? And is there a limit to the hardness of the human heart? Here too are The Misunderstanding, a murderous tangle of the longing for home and the longing for elsewhere; The Just, depicting the 1905 assassination of a Grand Duke in Moscow and testing the ethical limits of one’s belief in a political cause; and State of Emergency , an allegorical romp where The Plague itself appears as a central character, shedding new light on our current battles with viral disease and authoritarian regimes. These are engaging, often incendiary works, now in fresh English translations that beg to be performed.

A gripping tale of human 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 a omnipresent reality, obliterating all traces of the past and driving its victims to almost unearthly extremes of suffering, madness, and compassion.

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By one of the most profoundly influential thinkers of our century, The Rebel is a classic essay on revolution. 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.Translated from the French by Anthony Bower.

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 I960, Albert Camus laid the foundation for 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 would 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.As the novel follows the protagonist, Patrice Mersault, to his victim's house -- and then, fleeing, in a journey that takes him through stages of exile, hedonism, privation, and death -it gives us a glimpse into the imagination of one of the great writers of the twentieth century. For here is the young Camus himself, in love with the sea and sun, enraptured by women yet disdainful of romantic love, and already formulating the philosophy of action and moral responsibility that would make him central to the thought of our time.Translated from the French by Richard Howard

In the speech he gave upon accepting the Nobel Prize for Literature in 1957, Albert Camus said that a writer "cannot serve today those who make history; he must serve those who are subject to it." And in these twenty-three political essays, he demonstrates his commitment to history's victims, from the fallen maquis of the French Resistance to the casualties of the Cold War. Resistance, Rebellion and Death displays Camus's 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.

One of the most influential works of this century, The Myth of Sisyphus and Other Essays is a crucial exposition of existentialist thought. Influenced by works such as Don Juan and the novels of Kafka, these essays begin with a meditation on suicide; the age old question– “to be or not to be” 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

This is a previously-published edition of ISBN 9783499221897.Die Sonne sei Schuld gewesen, er habe den Araber am Strand nicht erschießen wollen. Mit dieser Erklärung erntet der Büroangestellte Meursault vor Gericht nur Gelächter. Der Staatsanwalt fordert seinen Kopf und klagt ihn der Unmenschlichkeit an. Meursaults grundlegende Schuld besteht jedoch darin, ein Sonderling zu sein, gesellschaftliche Spielregeln zu mißachten, am Grab seiner Mutter nicht geweint und tags drauf eine Liebschaft begonnen zu haben. Man wird lange suchen müssen nach einem Roman, in dem eine Philosophie (aus Camus' zeitgleich entstandenem Essay über das Absurde Der Mythos von Sisyphos) ähnlich elegant und überzeugend in Literatur verwandelt wird. Und erstaunlich, wie betörend klar und frisch die Sprache in Camus' frühem Meisterwerk heute noch wirkt, wie kunstvoll Aufbau und Motivführung sind. Meersault ist ein Anti-Held par excellence: Abgesehen von kleinen sinnlichen Genüssen lebt er unauffällig, gelangweilt und passiv sein unbedeutsames Leben. Er läßt sich treiben, wenn er nichts zu sagen hat, redet er auch nicht, und als ihn Maria fragt, ob er sie heiraten wolle, ringt er sich nur ein "das ist mir einerlei" ab. Erst angesichts des Todesurteils beginnt er nachzudenken und wird sich bewußt, daß er glücklich gewesen war und es immer noch ist. Als der Gefängnispriester ihn, den Ungläubigen, zu gottesfürchtiger Buße anhält, schleudert er ihm wütend sein eigenes Glaubensbekenntnis "dieses ganzen absurden Lebens" ins Gesicht und unterwirft sich endgültig "der zärtlichen Gleichgültigkeit der Welt", der er sich "brüderlich" verbunden fühlt. Er hat nur noch einen Wunsch: "Am Tag meiner Hinrichtung viele Zuschauer, die mich mit Schreien des Hasses empfangen". --Christian Stahl

"Stranac", jedan od najznačajnijih romana 20.stoljeća, dio je Camusova ciklusa apsurda, koji uključuje i filozofski esej "Mit o Sizifu" te dramu "Kaligula". Prikazom jedne od omiljenih tema književnosti 20. stoljeća, teme otuđenog čovjeka ili autsajdera, objavljenim tijekom njemačke okupacije Pariza, jedan od najmlađih nobelovaca na velika je vrata ušao u svijet književnosti.

Num bar de marinheiros em Amsterdão, um homem que se apresenta como juiz-penitente enceta conversa com um desconhecido. Entre copos de genebra e deambulações pelas ruas daquela cidade de canais concêntricos, a fazer lembrar os círculos do inferno, recorda a sua vida passada como respeitável advogado parisiense, insuperável na defesa de causas nobres e nas conquistas amorosas. Mas à medida que a confissão se desenrola as ambiguidades acumulam-se, os motivos ocultos revelam-se, os triunfos desabam. Narrativa mordaz, de uma ironia brilhante, A Queda descreve uma viagem de decadência até às mais obscuras infâmias do homem moderno. Publicado pela primeira vez em 1956, foi o último livro de ficção lançado em vida por Albert Camus.

Is it possible to die a happy death? This title tells the story of a young Algerian, Mersault, who defies society's rules by committing a murder and escaping punishment, then experimenting with different ways of life and finally dying a happy man.

Published in 1942 by French author Albert Camus, The Stranger has long been considered a classic of twentieth-century literature. Le Monde ranks it as number one on its "100 Books of the Century" list. Through this story of an ordinary man unwittingly drawn into a senseless murder on a sundrenched Algerian beach, Camus explores what he termed "the nakedness of man faced with the absurd."

Pubblicato nel 1942, "Lo straniero", un classico della letteratura contemporanea, sembra tradurre in immagini quel concetto dell'assurdo che Albert Camus andava allora delineando e che troverà teorizzazione nel coevo "Il mito di Sisifo". Protagonista è Meursault, un modesto impiegato che vive ad Algeri in uno stato di indifferenza, di estraneità a se stesso e al mondo. Un giorno, dopo un litigio, inesplicabilmente Meursault uccide un arabo. Viene arrestato e si consegna, del tutto impassibile, alle inevitabili consegenze del fatto - il processo e la condanna a morte - senza cercare giustificazioni, difese o menzogne. Come Sisifo, Meursault è un eroe "assurdo": la sua lucida coscienza del reale gli permette di giungere attraverso una logica esasperata alla verità di essere e sentire. "E' una verità ancora negativa", ebbe a scrivere Camus in una prefazione per un'edizione americana dello "Straniero", "senza la quale però nessuna conquista di sé e del mondo sarà mai possibile".

Meursault will not pretend. After the death of his mother, everyone is shocked when he shows no sadness. And when he commits a random act of violence in Algiers, society is baffled. Why would this seemingly law-abiding bachelor do such a thing? And why does he show no remorse even when it could save his life? His refusal to satisfy the feelings of others only increases his guilt in the eyes of the law. Soon Meursault discovers that he is being tried not simply for his crime, but for his lack of emotion - a reaction that condemns him for being an outsider. For Meursault, this is an insult to his reason and a betrayal of his hopes; for Camus it encapsulates the absurdity of life.

These six stories, written at the height of Camus' artistic powers, all depict people at decisive, revelatory moments in their lives. Translated from the French by Justin O'Brien. The six works featured in this volume are: "The Adulterous Woman" ("La Femme adultère") "The Renegade or a Confused Spirit" ("Le Renégat ou un esprit confus") "The Silent Men" ("Les Muets") "The Guest" ("L'Hôte") "Jonas or the Artist at Work" ("Jonas ou l’artiste au travail") "The Growing Stone" ("La Pierre qui pousse")

L'envers et l'endroit est le premier livre d'Albert Camus. Il paraît à Alger en 1937.À la fin de sa vie, Camus verra dans cette œuvre de jeunesse la source secrète qui a alimenté ou aurait dû alimenter tout ce qu'il a écrit. L'envers et l'endroit livre l'expérience, déjà riche, d'un garçon de vingt-deux ans : le quartier algérois de Belcourt et le misérable foyer familial dominé par une terrible grand-mère ; un voyage aux Baléares, et Prague, où le jeune homme se retrouve «la mort dans l'âme» ; et surtout, ce thème essentiel : «l'admirable silence d'une mère et l'effort d'un homme pour retrouver une justice ou un amour qui équilibre ce silence

Knygą sudarė du vieno žymiausių XX a. rašytojų humanistų ir egzistencializmo filosofų A. Kamiu romanai ir kalbos, pasakytos 1957 m. Švedijoje Nobelio premijos gavimo proga. Romane "Svetimas" pagrindinio herojaus Merso paveikslu rašytojas atskleidžia žmogaus egzistencijos absurdiškumą, jo vienišumą priešiškame pasaulyje. "Krytis" - bene sudėtingiausias ir prieštaringiausias rašytojo romanas. Jis sukomponuotas tarsi dialogo forma, nors iš esmės tai monologas - išpažintis, tarpais pertraukiama kreipimosi į tylintį klausytoją. Garsu Paryžiaus advokatas Klamansas prisipažįsta esąs niekšas ir renkasi dviprasmišką atgailaujančio teisėjo egzistenciją. Per panieką žmonėms Klamansas pamažu sunaikina save kaip asmenybę.

Prancūzų rašytojo Albert’o Camus (Alberas Kamiu, 1913–1960) karta brendo dviejų pasaulinių karų kanonados, atominės bombos apokalipsės ir holokausto košmaro laiku. Camus tapo vienu svarbiausių savo kartos kultūros mokytojų, intelektualinių vadovų, moraline sąžine. Savo kūryba jis išreiškė naujosios epochos dvasią ir galią, o jo jaunatviškas entuziazmas, neabejotinas intelektualinis autoritetas ir meninis principingumas pradėjo ligi šiol tebesitęsiančią draugystę su skaitytojais. Absurdas, maištas, istorija ir mirtis – svarbiausios temos, plėtojamos visame Camus kūrybiniame palikime. Camus romanas „Svetimas” (1942) rašytojui pelnė pasaulinį pripažinimą. Pagrindinio veikėjo Merso santykis su supančiu pasauliu pažeidžia visuomenės taisykles ir paverčia jį „svetimu“. Tai knyga apie neįveikiamą individo vienatvę inertiško abejingumo, absurdo akivaizdoje.

Sentado en una mesa del México City, bar situado en el Barrio Rojo de Ámsterdam, Jean-Baptiste Clamence le cuenta a un desconocido (acaso al propio lector), sus inicios como abogado de éxito en París hasta su posterior alejamiento del suntuoso mundo de la alta sociedad francesa para finalmente ir a parar a esa ciudad, oscura y húmeda, cuyo aire de último círculo del infierno de Dante le parece la más apropiada para vivir. Encadenando una serie de monólogos, Camus emplea la figura de Clamence para abordar temas como la culpa y la deformación de los valores y así bucear dentro de su visión existencialista de la filosofía.

La aparición casi simultánea —en 1942— de EL MITO DE SÍSIFO y «El extranjero» reveló al público el talento literario, la sensibilidad ética y la capacidad de reflexión teórica de Albert Camus (1913-1960), para quien narrativa, teatro, ensayo y periodismo fueron medios alternativos para indagar sobre la complejidad, la ambigüedad y la riqueza de la condición humana y para plantear y debatir los grandes problemas morales de nuestra época. La obra se compone de cuatro capítulos y un apéndice («La esperanza y lo absurdo en la obra de Franz Kafka») que estudian, desde enfoques cercanos al existencialismo, esa «sensibilidad absurda» que parece dominar gran parte del siglo xx.

'To create today is to create dangerously' Camus argues passionately that the artist has a responsibility to challenge, provoke and speak up for those who cannot in this powerful speech, accompanied here by two others. Penguin Modern: fifty new books celebrating the pioneering spirit of the iconic Penguin Modern Classics series, with each one offering a concentrated hit of its contemporary, international flavour. Here are authors ranging from Kathy Acker to James Baldwin, Truman Capote to Stanislaw Lem and George Orwell to Shirley Jackson; essays radical and inspiring; poems moving and disturbing; stories surreal and fabulous; taking us from the deep South to modern Japan, New York's underground scene to the farthest reaches of outer space.

'A story for our, and all, times' Guardian Set in a town at the mercy of an epidemic, The Plague is an odyssey into the darkness and absurdity of human existence. ----------------------------------- 'On the morning of April 16, Dr Rieux emerged from his consulting-room and came across a dead rat in the middle of the landing.' It starts with the rats. Vomiting blood, they die in their hundreds, then in their thousands. When the rats are all gone, the citizens begin to fall sick. Like the rats, they too die in ever greater numbers. The authorities quarantine the town. Cut off, the terrified townspeople must face this horror alone. Some resign themselves to death or the whims of fate. Others seek someone to blame or dream of revenge. One is determined to escape. But a few, like stoic Dr Rieux, stand together to fight the terror. A monstrous evil has entered their lives, but they will never surrender to it. They will resist the plague. ­­­----------------------------------- 'A matchless fable of fear, courage and cowardice' Independent

Clamence, un brillante avvocato parigino, abbandona improvvisamente la sua carriera e sceglie come quartier generale un locale d’infimo ordine, il Mexico-City, ad Amsterdam.Presa coscienza dell’insincerità e della doppiezza che caratterizza la sua vita, Clamence decide di redimersi confessando e incitando (per sincerità, per virtù, per dialettica?) gli occasionali avventori della taverna portuale a confessare la loro “cattiva coscienza”. Ma non bisogna lasciarsi ingannare: Clamence non si redime. L’eroe di Camus secondo le sue stesse parole “percorre una carriera di falso profeta che grida nel deserto e rifiuta di uscirne”.

Con el cincuenta aniversario del final de la Segunda Guerra Mundial y en un tiempo en que los hechos nos obligan a volver a una reflexión sobre la memoria y el perdón, la violencia y el dialogo, los nacionalismos y la tolerancia, los fundamentalismos religiosos o raciales y la mutua comprensión -a fin de cuentas, como decia Malraux, sobre el Mal absoluto y la fraternidad-, estas cuatro cartas que Albert Camus escribió entre julio de 1943 y julio de 1944, días después de la liberación de París, se nos aparecen hoy más iluminadoras que nunca.Las dos primeras cartas se publicaron respectivamente en la Revue Libre y en Cahiers de Liberation, y las otras dos, escritas para la Revue Libre, permanecieron inéditas hasta su publicación en forma de libro, en una tirada muy reducida, después de la liberación. La tercera volvió a aparecer, a principios de 1945, en el semanario Libertes. Por razones que Camus expone en un breve prefacio, que reproducimos aquí, hasta la edición italiana, en 1948, el se había negado a que se tradujeran en el extranjero. Ahora aparecen por primera vez en nuestra lengua, publicadas por separado, como lo fueron en la edición italiana de 1948.

Na manhã de um dia 16 de abril dos anos de 1940, o doutor Bernard Rieux sai do seu consultório e tropeça num rato morto. Este é o primeiro sinal de uma epidemia de peste que em breve toma conta de toda a cidade de Orão, na Argélia. Sujeita a quarentena, esta torna-se um território irrespirável e os seus habitantes são conduzidos até estados de sofrimento, de loucura, mas também de compaixão de proporções desmedidas. Uma história arrebatadora sobre o horror, a sobrevivência e a resiliência do ser humano, A Peste é uma parábola de ressonância intemporal, um romance magistralmente construído, que, publicado originalmente em 1947, consagrou em definitivo Albert Camus como um dos autores fundamentais da literatura moderna.

Pesten handler om et pestudbrud i den algierske havneby Oran. I begyndelsen dør rotter i hobetal, men efterhånden sættes alle indbyggere i karantæne. En lokal læge kæmper en brav kamp for beboerne i byen. Mange vælger at gå op imod den dødsdom, der hænger over byen ved at forsøge at skabe livskvalitet under de værste betingelser eller give de syge en værdig død. Romanen demonstrerer således, at der findes en human eksistentialisme. Hovedværk fra 1947 i forfatterskabet.

The Plague is a novel by Albert Camus, published in 1947. It tells the story from the point of view of a narrator of a plague sweeping the French Algerian city of Oran. The narrator remains unknown until the start of the last chapter, chapter 5 of part 5. The novel presents a snapshot of life in Oran as seen through the author's distinctive absurdist point of view. The book tells a gripping tale of human 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. The Plague is considered an existentialist classic despite Camus' objection to the label. The novel stresses the powerlessness of the individual characters to affect their destinies. The narrative tone is similar to Kafka's, especially in The Trial, whose individual sentences potentially have multiple meanings; the material often pointedly resonating as stark allegory of phenomenal consciousness and the human condition.

" - Naturellement, vous savez ce que c'est, Rieux ? - J'attends le résultat des analyses. - Moi, je le sais. Et je n'ai pas besoin d'analyses. J'ai fait une partie de ma carrière en Chine, et j'ai vu quelques cas à Paris, il y a une vingtaine d'années. Seulement, on n'a pas osé leur donner un nom, sur le moment... Et puis, comme disait un confrère : "C'est impossible, tout le monde sait qu'elle a disparu de l'Occident." Oui, tout le monde le savait, sauf les morts. Allons, Rieux, vous savez aussi bien que moi ce que c'est... - Oui, Castel, dit-il, c'est à peine croyable. Mais il semble bien que ce soit la peste. "

The stories of Exile and the Kingdom explore the dilemma of being an outsider - even in one's own country - and of allegiance. With intense power and lyricism, Camus evokes beautiful but harsh landscapes, whether the shimmering deserts of his native Algeria or the wild, mysterious jungles of Brazil.Here a Frenchwoman is gradually seduced by the sheer difference of North Africa, a mutilated renegade is driven mad by the cruelty of his own people, and a barrel-maker watches the slow decline of his craft. A kindly teacher must choose between the law and a life, while a modest painter is out of his depth in the hypocrisy of the art world, and a French engineer discovers a new sense of belonging in a distant land.

Quoi qu'il puisse arriver, Jonas, peintre au talent reconnu, croit en sa bonne étoile - jamais elle ne cessera de l'aider et de le guider. Pourtant la vie, ses proches, ses amis, ses disciples l'acculent peut à peu à la stérilité artistique...Un ingénieur français, en mission au Brésil, est confronté aux superstitions et au mysticisme des indigènes. Mais l'amitié qu'il éprouve pour l'un d'entre eux aura raison de son scepticisme.Deux magnifiques nouvelles à la fin mystérieuse et ambiguë par l'auteur de L'étranger.