New insights on Camus

A Life Worth Living: Albert Camus and the Quest for Meaning by Robert Zaretsky
My rating: 5 of 5 stars

Very, very insightful work on the life and thought of Albert Camus, which opened my eyes to several things.

First, as far as his life, other than knowing he was a pied-noir, that his father died when he was very young, that he was tuburcular, that he died young himself (but was NOT assassinated by the KGB!) and that he was a notorious womanizer, I knew nothing.

The details of his childhood explain that last element of his adulthood to some degree, perhaps, as well as one long-used intellectual tool of his.

Camus' father was called to the active duty at the start of World War I and killed in battle in 1914. Camus was a year old. At the time his dad was called up, his dad's mom took in Albert, his older brother, and their mom.

Camus' mom was deaf. Per Zaretsky, a few people said she could speak before her husband was killed and only went mute afterward; most say she was a life-long mute. Anyway, she was a mute. So was her uncle by marriage, her mother-in-law's brother, who also was in grandma Camus' house.

Meanwhile, grandma was illiterate. And, after Albert was old enough to read, Zaretsky says she took him to the movie theater in Algiers. In the 1920s, silent movies reigned, of course, and in France and possessions, as well as in the US, they usually had subtitles describing the action.

And, illiterate grandma told Albert to read them to her — ignoring, of course, all the other patrons in the theater telling him to shut up.

So, Camus grew up in a world of silence, either silent people or people calling for silence. And, that's the biographical backstory, I think, to his use of silence on the Algerian civil war.

Related to that, Zaretsky notes Camus was misquoted by Le Monde, deliberately, in his statement on his mother and justice.

He actually said:

"People are now planting bombs in the tramways of Algiers. My mother might be on one of those tramways. If THAT is justice, then I prefer my mother."

And, who could argue with that?

I also think this is where Camus' womanizing comes from. A mother deaf and silent to him, a grandmother seemingly using him and manipulating him, and him looking for connection. BUT ... when a woman got too close — and SOUNDED too close — off he went. Zaretsky doesn't make that connection, but it makes sense to me.

Zaretsky DOES divide Camus' literary output into two periods, plus implies the start of a third, before his death. And, he confines Camus' well-known absurdism to just the first period. (He's not alone in this framework, by any means; Wikipedia discusses it.)

That first period is exemplified by The Myth of Sisyphus and The Stranger. Sisyphus is of course the icon of absurdism.

Part two focuses on rebellion. The Rebel and various essays, most centered on the image of Prometheus, are key. Camus sees both Prometheus AND Zeus as having both innocent and sinful sides in their battle.

Looking at these two periods separately, Zaretsky says that Camus had moved beyond absurdism. He doesn't say Camus rejected it, unlike Hume rejecting the Treatise. It was nothing Camus was afraid of. He simply thought that rebellion, or beyond rebellion, the difference between rebellion and revolt, was "the issue" of the post-World War II world.

He does note that near the end of his first period through his second period, Camus read more on Nietzsche, though ultimately rejecting his nihilism. Apropos Camus, Zaretsky notes Nietzsche was silent after his 1889 horse-hugging then institutionalization.

While not claiming that Camus' last years, possibly represented by The Fall and the posthumously published The First Man, represent a third phase of Camus' thought, Zaretsky does leave that door open. He notes that the "mistress suicide" scene from The Fall is seen by many as quasi-autobiographical, and The First Man of course is.

That said, the book's not perfect. It could have used a bit more coverage about The Fall (The First Man gets more) and The Plague as well as The Rebel in Camus' second period.

But this is still a very good look at Camus and all in just 200 pages of paperback-sized body copy.

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