Portrait from New York World-Telegram and the Sun Newspaper Photograph Collection, 1957
|Born||7 November 1913
Dréan, El Taref, French Algeria
|Died||4 January 1960 (aged 46)
Villeblevin, Yonne, Bourgogne, France
|Era||20th century philosophy|
Nobel Prize in Literature
|Main interests||Ethics, Humanity, Justice, Love, Politics|
|Notable ideas||"The absurd is the essential concept and the first truth"
"Always go too far, because that's where you'll find the truth."
"I rebel; therefore we exist."
Albert Camus albɛʁ kamy (help·info) (7 November 1913 – 4 January 1960) was a French Algerian author, philosopher, and journalist who was awarded the Nobel Prize for Literature in 1957. He was a key philosopher of the 20th-century and his most famous work is the novel L'Étranger (The Stranger).
In 1949, Camus founded the Group for International Liaisons within the Revolutionary Union Movement, which was a group opposed to some tendencies of the surrealistic movement of André Breton. Camus was the second-youngest recipient of the Nobel Prize for Literature - after Rudyard Kipling - when he became the first African-born writer to receive the award. He is the shortest-lived of any literature laureate to date, having died in an automobile accident just over two years after receiving the award.
He is often cited as a proponent of existentialism, the philosophy that he was associated with during his own lifetime, but Camus himself rejected this particular label. In an interview in 1945, Camus rejected any ideological associations: "No, I am not an existentialist. Sartre and I are always surprised to see our names linked..."
Specifically, his views contributed to the rise of the more current philosophy known as absurdism. He wrote in his essay The Rebel that his whole life was devoted to opposing the philosophy of nihilism while still delving deeply into individual freedom.
Albert Camus was born on 7 November 1913 in Dréan (then known as Mondovi) in French Algeria to a Pied-Noir settler family. His mother was of Spanish extraction and was half-deaf. Pied-Noir was a term used to refer to colonists of French Algeria until Algerian independence in 1962. His father Lucien, a poor agricultural worker, died in the Battle of the Marne in 1914 during World War I, while serving as a member of the Zouave infantry regiment. Camus lived in poor conditions during his childhood in the Belcourt section of Algiers. In 1923, he was accepted into the lycée and eventually to the University of Algiers. However, he contracted tuberculosis in 1930, which put an end to his football activities (he had been a goalkeeper for the university team) and forced him to make his studies a part-time pursuit. He took odd jobs including private tutor, car parts clerk and work for the Meteorological Institute. He completed his licence de philosophie (BA) in 1935; in May 1936, he successfully presented his thesis on Plotinus, Néo-Platonisme et Pensée Chrétienne, for his diplôme d'études supérieures (roughly equivalent to an M.A. thesis).
|French literary history|
Camus joined the French Communist Party in the Spring of 1935 seeing it as a way to "fight inequalities between Europeans and 'natives' in Algeria." He did not suggest he was a Marxist or that he had read Das Kapital, but did write that "[w]e might see communism as a springboard and asceticism that prepares the ground for more spiritual activities". In 1936, the independence-minded Algerian Communist Party (PCA) was founded. Camus joined the activities of the Algerian People's Party (Le Parti du Peuple Algérien), which got him into trouble with his Communist party comrades. As a result, he was denounced as a Trotskyite and expelled from the party in 1937. Camus went on to be associated with the French anarchist movement.
The anarchist Andre Prudhommeaux first introduced him at a meeting in 1948 of the Cercle des Etudiants Anarchistes (Anarchist Student Circle) as a sympathiser who was familiar with anarchist thought. Camus went on to write for anarchist publications such as Le Libertaire, La révolution Proletarienne and Solidaridad Obrera (the organ of the anarcho-syndicalist CNT). Camus also stood with the anarchists when they expressed support for the uprising of 1953 in East Germany. He again stood with the anarchists in 1956, first with the workers’ uprising in Poznan, Poland, and then later in the year with the Hungarian Revolution.
In 1934, he married Simone Hie, a morphine addict, but the marriage ended as a consequence of infidelities on both sides. In 1935, he founded Théâtre du Travail — "Worker's Theatre" — (renamed Théâtre de l'Equipe ("Team's Theatre") in 1937), which survived until 1939. From 1937 to 1939 he wrote for a socialist paper, Alger-Républicain, and his work included an account of the peasants who lived in Kabylie in poor conditions, which apparently cost him his job. From 1939 to 1940, he briefly wrote for a similar paper, Soir-Republicain. He was rejected by the French army because of his tuberculosis.
In 1940, Camus married Francine Faure, a pianist and mathematician. Although he loved Francine, he had argued passionately against the institution of marriage, dismissing it as unnatural. Even after Francine gave birth to twins, Catherine and Jean, on 5 September 1945, he continued to joke wearily to friends that he was not cut out for marriage. Camus conducted numerous affairs, particularly an irregular and eventually public affair with the Spanish-born actress Maria Casares. In the same year, Camus began to work for Paris-Soir magazine. In the first stage of World War II, the so-called Phony War stage, Camus was a pacifist. However, he was in Paris to witness how the Wehrmacht took over. On 15 December 1941, Camus witnessed the execution of Gabriel Péri, an event that Camus later said crystallized his revolt against the Germans. Afterwards he moved to Bordeaux alongside the rest of the staff of Paris-Soir. In the same year he finished his first books, The Stranger and The Myth of Sisyphus. He returned briefly to Oran, Algeria in 1942.
During the war Camus joined the French Resistance cell Combat, which published an underground newspaper of the same name. This group worked against the Nazis, and in it Camus assumed the nom de guerre "Beauchard". Camus became the paper's editor in 1943, and when the Allies liberated Paris Camus reported on the last of the fighting. He was one of the few French editors to publicly express opposition to the use of the atomic bomb in Hiroshima soon after the event on 8 August 1945. He eventually resigned from Combat in 1947, when it became a commercial paper. It was then that he became acquainted with Jean-Paul Sartre.
After the war, Camus began frequenting the Café de Flore on the Boulevard Saint-Germain in Paris with Sartre and others. He also toured the United States to lecture about French thinking. Although he leaned left, politically, his strong criticisms of Communist doctrine did not win him any friends in the Communist parties and eventually also alienated Sartre.
In 1949 his tuberculosis returned and he lived in seclusion for two years. In 1951 he published The Rebel, a philosophical analysis of rebellion and revolution which made clear his rejection of communism. The book upset many of his colleagues and contemporaries in France and led to the final split with Sartre. The dour reception depressed him and he began instead to translate plays.
Camus's first significant contribution to philosophy was his idea of the absurd, the result of our desire for clarity and meaning within a world and condition that offers neither, which he explained in The Myth of Sisyphus and incorporated into many of his other works, such as The Stranger and The Plague. Despite the split from his "study partner", Sartre, some still argue that Camus falls into the existentialist camp. However, he rejected that label himself in his essay Enigma and elsewhere (see: The Lyrical and Critical Essays of Albert Camus). The current confusion may still arise, as many recent applications of existentialism have much in common with many of Camus's practical ideas (see: Resistance, Rebellion, and Death). However, the personal understanding he had of the world (e.g. "a benign indifference", in The Stranger), and every vision he had for its progress (e.g. vanquishing the "adolescent furies" of history and society, in The Rebel) undoubtedly set him apart.
In the 1950s Camus devoted his efforts to human rights. In 1952 he resigned from his work for UNESCO when the UN accepted Spain as a member under the leadership of General Franco. In 1953 he criticized Soviet methods to crush a workers' strike in East Berlin. In 1956 he protested against similar methods in Poland (protests in Poznań) and the Soviet repression of the Hungarian revolution in October.
He maintained his pacifism and resistance to capital punishment anywhere in the world. One of his most significant contributions to the movement against capital punishment was an essay collaboration with Arthur Koestler, the writer, intellectual and founder of the League Against Capital Punishment.
When the Algerian War began in 1954 it presented a moral dilemma for Camus. He identified with pied-noirs, and defended the French government on the grounds that the revolt in Algeria was really an integral part of the 'new Arab imperialism' led by Egypt and an 'anti-Western' offensive orchestrated by Russia to 'encircle Europe' and 'isolate the United States'. Although favouring greater Algerian autonomy or even federation, though not full-scale independence, he believed that the pied-noirs and Arabs could co-exist. During the war he advocated civil truce that would spare the civilians, which was rejected by both sides who regarded it as foolish. Behind the scenes, he began to work for imprisoned Algerians who faced the death penalty.
From 1955 to 1956 Camus wrote for L'Express. In 1957 he was awarded the Nobel Prize in literature "for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times", not for his novel The Fall, published the previous year, but for his writings against capital punishment in the essay Réflexions sur la Guillotine. When he spoke to students at the University of Stockholm, he defended his apparent inactivity in the Algerian question and stated that he was worried about what might happen to his mother, who still lived in Algeria. This led to further ostracism by French left-wing intellectuals.
As he wrote in L'Homme révolté (in the chapter about "The Thought on Midday") he was a follower of the ancient Greek 'Solar Tradition' (la pensée solaire). So, not only was he the leader of the French resistance movement "Combat," but he set up in 1947-8 the Revolutionary Union Movement (Groupes de liaison internationale - GLI) which was formed in 1949 and can be described as a trade union movement in the context of revolutionary syndicalism (Syndicalisme révolutionnaire) - according to Olivier Todd, in the biography, 'Albert Camus, une vie', it was a group opposed to some tendencies of the surrealistic movement of André Breton. For more, see the book : Alfred Rosmer et le mouvement révolutionnaire internationale by Christian Gras).
His colleagues were Nicolas Lazarévitch, Louis Mercier, Roger Lapeyre, Paul Chauvet, Auguste Largentier, Jean de Boë (see the article: "Nicolas Lazarévitch, Itinéraire d'un syndicaliste révolutionnaire" by Sylvain Boulouque in the review Communisme, n° 61, 2000). His main aim was to express the positive side of surrealism and existentialism, rejecting the negativity and the nihilism of André Breton.
From 1943, Albert Camus had correspondence with Altiero Spinelli who founded the European Federalist Movement in Milan—see Ventotene Manifesto and the book "Unire l'Europa, superare gli stati", Altiero Spinelli nel Partito d'Azione del Nord Italia e in Francia dal 1944 al 1945-annexed a letter by Altiero Spinelli to Albert Camus.
In 1944 Camus founded the "French Committee for the European Federation" (Comité Français pour la Féderation Européene -CFFE) declaring that Europe "can only evolve along the path of economic progress, democracy and peace if the nation states become a federation".
From 22–25 March 1945, the first conference of the European Federalist Movement was organised in Paris with the participation of Albert Camus, George Orwell, Emmanuel Mounier, Lewis Mumford, André Philip, Daniel Mayer, François Bondy and Altiero Spinelli (see the book "The Biography of Europe" by Pan Drakopoulos). This specific branch of the European Federalist Movement disintegrated in 1957 after the domination of Winston Churchill's ideas about the European integration.
Three essays by Dr. Miho Takashima in the International Journal of Humanities explore the relation between the work of the French writer Albert Camus and the English writer George Orwell: "Revolt and Equilibrium: A Comparative Study of Nineteen Eighty-Four and L'Homme Révolté, the Views and Struggles of Orwell and Camus", "Art and Representation: A Comparative Study of George Orwell and Albert Camus on their Literary Works", and "George Orwell and Albert Camus: A Comparative Study – Their Views and Dilemmas in the Politics of the 1930s and 40s".
Takashima argues that Orwell — perhaps intentionally, in order to warn the intellectual elite — compromised with "Big Brother", while Camus confronted with The Plague. This is observed not only in the comparison between Nineteen Eighty-Four and The Rebel but, especially, in Camus' play The State of Siege. This theatrical play was written together with the novel The Plague and the essay The Rebel. It is the work which — according to Camus himself — represents him best and is a response to George Orwell's Nineteen Eighty-Four. The hero, Diego, opposes the totalitarian dictator named Plague, and dies in order to set a Spanish town free from the Inquisition.
The State of Siege is a work against totalitarianism, written in the same epoch when Camus' contemporary, George Orwell, wrote Nineteen Eighty-Four. The play includes an allegorical reference to the end of Orwell's novel.
The original title of The State of Siege was The Holy Inquisition in Cadix. In the French edition of the book, Camus has included an essay under the title "Why Spain?". In this polemical text, he answers his Catholic friend Gabriel Marcel who criticized him for setting the plot in Spain. Here Camus expresses his opposition to the totalitarian regimes of the West, and to the behavior of the Church in Spain which seemed to turn a blind eye to Franco's firing squads. The most important phrase of this essay is "Why Guernica, Gabriel Marcel?".
Camus died on 4 January 1960 at the age of 46 in a car accident near Sens, in a place named "Le Grand Fossard" in the small town of Villeblevin. In his coat pocket lay an unused train ticket. He had planned to travel by train, with his wife and children, but at the last minute accepted his publisher's proposal to travel with him.
The driver of the Facel Vega car, Michel Gallimard — his publisher and close friend — was also killed in the accident. Camus was buried in the Lourmarin Cemetery, Lourmarin, Vaucluse, Provence-Alpes-Côte d'Azur, France.
He was survived by his twin children, Catherine and Jean, who hold the copyrights to his work.
Two of Camus's works were published posthumously. The first, entitled A Happy Death, published in 1970, featured a character named Patrice Mersault, comparable to The Stranger's Meursault, but there is some debate as to the relationship between the two stories. The second posthumous publication was an unfinished novel, The First Man, that Camus was writing before he died. The novel was an autobiographical work about his childhood in Algeria and was published in 1995.
Many writers have written on the Absurd, each with his or her own interpretation of what the Absurd actually is and their own ideas on the importance of the Absurd. For example, Sartre recognizes the absurdity of individual experience, while Kierkegaard explains that the absurdity of certain religious truths prevent us from reaching God rationally. Camus was not the originator of Absurdism and regretted the continued reference to him as a philosopher of the absurd. He shows less and less interest in the Absurd shortly after publishing Le Mythe de Sisyphe (The Myth of Sisyphus). To distinguish Camus' ideas of the Absurd from those of other philosophers, people sometimes refer to the Paradox of the Absurd, when referring to Camus' Absurd.
His early thoughts on the Absurd appeared in his first collection of essays, L'Envers et l'endroit (The Two Sides Of The Coin) in 1937. Absurd themes appeared with more sophistication in his second collection of essays, Noces (Nuptials), in 1938. In these essays Camus does not offer a philosophical account of the Absurd, or even a definition; rather he reflects on the experience of the Absurd. In 1942 he published the story of a man living an Absurd life as L'Étranger (The Stranger), and in the same year released Le Mythe de Sisyphe (The Myth of Sisyphus), a literary essay on the Absurd. He had also written a play about a Roman Emperor, Caligula, pursuing an Absurd logic. However, the play was not performed until 1945. The turning point in Camus' attitude to the Absurd occurs in a collection of four letters to an anonymous German friend, written between July 1943 and July 1944. The first was published in the Revue Libre in 1943, the second in the Cahiers de Libération in 1944, and the third in the newspaper Libertés, in 1945. All four letters have been published as Lettres à un ami allemand (Letters to a German Friend) in 1945, and have appeared in the collection Resistance, Rebellion, and Death.
In his essays Camus presented the reader with dualisms: happiness and sadness, dark and light, life and death, etc. His aim was to emphasize the fact that happiness is fleeting and that the human condition is one of mortality. He did this not to be morbid, but to reflect a greater appreciation for life and happiness. In Le Mythe, this dualism becomes a paradox: We value our lives and existence so greatly, but at the same time we know we will eventually die, and ultimately our endeavours are meaningless. While we can live with a dualism (I can accept periods of unhappiness, because I know I will also experience happiness to come), we cannot live with the paradox (I think my life is of great importance, but I also think it is meaningless). In Le Mythe, Camus was interested in how we experience the Absurd and how we live with it. Our life must have meaning for us to value it. If we accept that life has no meaning and therefore no value, should we kill ourselves?
Meursault, the Absurdist hero of L'Étranger, has killed a man and is scheduled to be executed. Caligula ends up admitting his Absurd logic was wrong and is killed by an assassination he has deliberately brought about. However, while Camus possibly suggests that Caligula's Absurd reasoning is wrong, the play's anti-hero does get the last word, as the author similarly exalts Meursault's final moments.
Camus' understanding of the Absurd promotes public debate; his various offerings entice us to think about the Absurd and offer our own contribution. Concepts such as cooperation, joint effort and solidarity are of key importance to Camus.
Camus made a significant contribution to a viewpoint of the Absurd, and always rejected nihilism as a valid response.
"If nothing had any meaning, you would be right. But there is something that still has a meaning." Second Letter to a German Friend, December 1943.
What still had meaning for Camus is that despite humans being subjects in an indifferent and "absurd" universe in which meaning is challenged by the fact that we all die, meaning can be created, however provisionally and unstably, by our own decisions and interpretations.
While writing his thesis on Plotinus and Saint Augustine of Hippo, Camus became very strongly influenced by their works, especially that of St. Augustine. In his work, Confessions (consisting of 13 books), Augustine promotes the idea of a connection between God and the rest of the world. Camus identified with the idea that a personal experience could become a reference point for his philosophical and literary writings. Although he blatantly considered himself an atheist, Camus later came to tout the idea that the absence of God in a person's life can simultaneously be accompanied by a longing for "salvation and meaning that only God can provide". This line of thinking presented an enormous paradox and became a major thread in defining the idea of absurdism in Camus' writings.
Throughout his life, Camus spoke out against and actively opposed totalitarianism in its many forms. Early on, Camus was active within the French Resistance to the German occupation of France during World War II, even directing the famous Resistance journal, Combat. On the French collaboration with Nazi occupiers he wrote:
Camus' well-known falling out with Sartre is linked to this opposition to totalitarianism. Camus detected a reflexive totalitarianism in the mass politics espoused by Sartre in the name of radical Marxism. This was apparent in his work L'Homme Révolté (The Rebel) which not only was an assault on the Soviet police state, but also questioned the very nature of mass revolutionary politics. Camus continued to speak out against the atrocities of the Soviet Union, a sentiment captured in his 1957 speech, The Blood of the Hungarians, commemorating the anniversary of the 1956 Hungarian Revolution, an uprising crushed in a bloody assault by the Red Army.
In The Stranger, Albert Camus characterizes his justification of the absurd through the experiences of a protagonist who simply does not conform to the system. His inherent honesty disturbs the status quo; Meursault's inability to lie cannot seamlessly integrate him within society and in turn threatens the simple fabrics of human mannerisms expected of a structurally ordered society. Consequently, the punishment for his crime is not decided on the basis of murder, but rather for the startling indifference toward his mother's recent death. Even after a conflicting spiritual discussion with a pastor inciting Meursault to consider a possible path towards redemption, the latter still refuses to take upon salvation and symbolizes his ultimatum by embracing the "gentle indifference of the world"; an act which only furthers his solidarity with a society incapable of realizing his seemingly inhumane behavior.
The plague is an undeniable part of life. As posited in The Plague, it is omnipresent, just like death was always an impeding factor in The Stranger. Albert Camus once again questions the meaning of the moral concepts justifying humanity and human suffering within a religious framework. For Camus, the rationale behind Christian doctrine is useless; as mortal beings, we cannot successfully rationalize the impending and inescapable death sentence forced upon every human. The plague, which befalls Oran, is a concrete and tangible facilitator of death. Ultimately, the plague enables people to understand that their individual suffering is meaningless. As the epidemic "evolves" within the seasons, so do the citizens of Oran, who instead of willfully giving up to a disease they have no control over, decide to fight against their impending death, thus unwillingly creating optimism in the midst of hopelessness. This is where Camus channels his thoughts behind the importance of solidarity: although the plague is still primarily an agent of death, it provides the uncanny opportunity for people to realize that individual suffering is absurd. In the midst of complete suffering, the challenging response adopted by the majority of the citizens of Oran demonstrates an inexplicable humanistic connection between distraught and distant characters. Only by making the choice to fight an irreversible epidemic are people able to create the ever-lacking meaning to a life destined for execution the moment of its creation.
Camus was once asked by his friend Charles Poncet which he preferred, football or the theatre. Camus is said to have replied, "Football, without hesitation."
Camus played as goalkeeper for Racing Universitaire Algerois (RUA won both the North African Champions Cup and the North African Cup twice each in the 1930s) junior team from 1928–30. The sense of team spirit, fraternity, and common purpose appealed to Camus enormously. In match reports Camus would often attract positive comment for playing with passion and courage. Any aspirations in football disappeared at age 17, upon contracting tuberculosis—then incurable, Camus was bedridden for long and painful periods.
When Camus was asked in the 1950s by an alumni sports magazine for a few words regarding his time with the RUA, his response included the following:
Camus was referring to a sort of simplistic morality he wrote about in his early essays, the principle of sticking up for your friends, of valuing bravery and fair-play. Camus' belief was that political and religious authorities try to confuse us with over-complicated moral systems to make things appear more complex than they really are, potentially to serve their own needs.
Several of Camus' works have been adapted into movies. The Stranger has been adapted into an Italian 1967 movie by Luchino Visconti, and also to a 2001 Turkish adaptation titled Yazgi (Fate) by Zeki Demirkubuz. The Plague was adapted to a 1992 film titled La Peste by Luis Puenzo and set in modern day America.
Quite a few musical artists refer to Camus and his work in their music. The post-punk band The Fall took their name from Camus' novel The Fall. These also include an album by Jeff Martin (Exile and the Kingdom, 2006) and songs by Neil Diamond ("Done Too Soon", 1969), Gentle Giant ("A Cry for Everyone", 1972), The Cure ("Killing an Arab", 1978), Tuxedomoon ("The Stranger", 1979), Digable Planets ("Reachin' (A New Refutation of Time and Space)", 1993) The Magnetic Fields ("I Don't Want To Get Over You", 1999), The Manic Street Preachers ("The Masses Against The Classes", 2000), JJ72 ("Algeria", 2000), Suede ("Obsessions", 2002), Streetlight Manifesto ("Here's To Life", 2003), A Perfect Circle ("A Stranger" and "The Outsider", 2003), Angela McCluskey ("Know it All", 2004), Joanna Newsom ("This Side of the Blue", 2004), Tarkio ("Neapolitan Bridesmaid", 2006), The Independence, ("20-Ought-Almost-Talkin' Blues", 2008), Drought ("To the Benign Indifference of the Universe", 2008).
The end of the song "No Future Part Two: The Days After No Future" by indie/punk band Titus Andronicus on their debut album The Airing of Grievances features a reading from Albert Camus's novel The Stranger; this also occurs on the 2008 song "Albert Camus"
Anti-folk singer-songwriter Jeffrey Lewis references Camus, as well as Bob Dylan and Allen Ginsberg, in a 2005 song, "Williamsburg Will Oldham Horror" in the line, "And I'm sure the thing is probably Dylan himself too, stayed up some nights wishing he was as good as Ginsberg or Camus".
Albert Camus (November 7, 1913 – January 4, 1960) was a French philosopher and writer. Camus wrote novels and plays. Camus was born in Algeria, a country in the North part of Africa. He had French parents. Many people think that Camus is an existentialist philosopher. Existentialism is a philosophy that is very different from other ways of thinking. Camus won the Nobel Prize in Literature in 1957.
Albert Camus was born in Algeria to a poor working class family. His mother was Spanish and his father was French. His father died in battle and he was left to live with his grandmother. When he was 17 he was diagnosed with tuberculosis, which was very impactful on him at that point in his life. It limited him greatly in his athletics as well as in his career opportunities, due to the fact that tuberculosis is quite contagious. For this reason he claimed that his disease “set him free” because he would have done something else with his life had he seen the opportunity. He went to the University of Algiers, where he graduated with a degree in 1935. In the 1930s, Camus became interested in politics. In 1935, Camus joined the French Communist Party, a political group. In the late 1930s, Camus was a writer for the socialist newspaper, the Alger-Republicain.
In 1941, Camus wrote his first novel, which was called The Stranger. During World War II, Camus joined the French Resistance to fight against the Nazi army. After World War II, Camus became friends with another writer called Jean-Paul Sartre. Camus and Sartre often talked about philosophy and politics in small restaurants called cafés.
Camus wrote books about philosophy (ways of thinking) which said that life was "absurd" (makes no sense, or has no meaning). In the 1950s Camus tried to improve human rights. In 1960, Camus died in a car crash. He had two children, Catherine and Jean.