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The Stranger

Albert camus.

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Welcome to the LitCharts study guide on Albert Camus's The Stranger . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

The Stranger: Introduction

The stranger: plot summary, the stranger: detailed summary & analysis, the stranger: themes, the stranger: quotes, the stranger: characters, the stranger: symbols, the stranger: theme wheel, brief biography of albert camus.

Historical Context of The Stranger

Other books related to the stranger.

• Full Title: The Stranger
• When Written: 1941?-1942
• Where Written: France
• When Published: 1942
• Literary Period: Modernist
• Genre: Philosophical novel
• Setting: Algiers, Algeria
• Climax: Meursault shoots the Arab.
• Antagonist: Raymond
• Point of View: First person (Meursault is the narrator.)

Extra Credit for The Stranger

An Existential Novel? Though The Stranger is often categorized as an existential novel, Camus himself rejected this label. Camus’ philosophy of Absurdism resembles Existentialism in many respects (both philosophies, for example, believe in the essential meaninglessness of life) but Camus was fiercely committed to human morality and dignity, ideas many Existentialists discarded.

Alternate Translations. The key sentence in Meursault’s final acceptance of death has been translated in several different ways, each of which shifts the line’s meaning. The edition on which this guide is based was translated by Matthew Ward and published in 1988. It translates the line: "I opened myself to the gentle indifference of the world." The first English edition, translated by Stuart Gilbert and published in 1946, translated this line, "I laid my heart open to the benign indifference of the universe." The second English edition, translated by Joseph Laredo and first published in 1982, translated the line, "I laid my heart open to the gentle indifference of the universe."

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The Stranger

by Albert Camus

The Stranger Analysis

• M eursault’s first-person perspective provides minimal access to his inner thoughts and feelings. Meursault himself doesn’t seem to have that access, which gives his narrative voice a stilted, matter-of-fact quality.
• Camus set The Stranger in Algeria in the 1940s, when the country was still under French colonial rule. Both the domestic abuse Raymond perpetrates and the murder Meursault commits are racially charged because their victims are both Arab.
• During the vigil, Meursault gets the “ridiculous feeling that [the other mourners] were there to judge me.” This foreshadows the trial in part 2, during which Meursault is criticized for his behavior at the vigil.

The Stranger Study Tools

Literary style.

Last Updated August 3, 2024.

Psychological self-examinations are a staple in French first-person narratives, but Camus’s The Stranger introduced a novel approach to psychological depth at the time of its publication. Rather than allowing the protagonist to present a static psychological profile, the narrative leaves it to the reader to interpret the protagonist's actions and behaviors. Camus believed that “psychology is action, not thinking about oneself.” The protagonist, in addition to not explaining everything to the reader, also refuses to justify himself to other characters. He shares only his thoughts and perceptions without adding commentary. By narrating the story through such an indifferent character, the reader is drawn into Meursault’s viewpoint, experiencing the absurdity of the events firsthand. Other characters, who lack the complete insight that readers have into Meursault's story, cling to their own perceptions of him. They are quick to pass judgment during his trial, ultimately condemning him as a remorseless killer.

Structure and Language

Camus’s narrative style was immediately recognized as highly innovative. His language, often compared to the American “Hemingway style,” was seen as perfectly suited to his narrative aims and not merely imitative. Camus employs direct speech with minimal description, a choice that aligns with his narrative technique. This style keeps the reader focused on the characters’ reactions and behaviors as conveyed through Meursault.

Camus also structured the story around the central event of the murder. Part 1 begins with Maman’s death and concludes with the murder of the Arab. In Part 2, Meursault is in prison, eventually awaiting his execution. This division underscores Meursault's significance in the story's universe. The semblance of normality is disrupted throughout the first part and dissolves into chaos after the murder. The second part illustrates the intervention of law to restore meaning and order through Meursault’s death. Thus, the structure and language are intricately connected to the overarching theme of absurdity.

The environment plays a crucial role for Meursault. He frequently describes the heat of rooms, the impact of the sun on him, and various other conditions of his surroundings. The narrative is primarily set in the city of Algiers and on the beach. It is perpetually daytime, with the sun always shining. Interestingly, in the world of The Stranger , night and darkness are absent, except as mental states. Events transpire overnight, but no significant plot developments occur in the dark. The only moment when darkness seems imminent is at the start of the vigil, but the caretaker dispels it with electric light. Overnight occurrences include private moments with Marie (presumably) and the reading of the verdict at eight o’clock in the evening. However, the main events of the novel unfold during the day, with long days that blend into each other. These temporal details underscore Meursault's absurdity; nothing holds meaning except the immediate physical state within the environment.

Foreshadowing

Foreshadowing is a technique used to hint at future events, often creating a sense of foreboding. A troubling moment for both Meursault and the unsuspecting reader happens while Meursault is sitting near Maman’s coffin. “It was then that I realized they were all sitting across from me, nodding their heads, grouped around the caretaker. For a second I had the ridiculous feeling that they were there to judge me.” Later, in part 2, the state prosecution focuses precisely on his behavior at this funeral. The way Meursault honors his mother becomes central to his guilt. In essence, the judgment he felt from those across from him at the funeral vigil foreshadowed the solitary condemnation he would face at the trial.

Cite this page as follows:

"The Stranger - Literary Style." Novels for Students, Vol. 6. Gale Cengage, 31 Aug. 2024 <https://www.enotes.com/topics/stranger/in-depth#in-depth-style>

Places Discussed

Algiers is the coastal capital of Algeria, a country in North Africa. Although not specifically described, Algiers serves as a general backdrop not only to the main action but above all to Meursault’s struggle with the collective forces of nature arrayed against him.

Raymond, Meursault’s friend, has a bungalow on a beach outside Algiers. When the sun beats down on Meursault, the reflecting light gouges into his eyes, the lazy sea waves turn him lethargic, the fiery beach presses him forward, and the cloudless sky pours a sheet of flame on him. Under this onslaught, he has no other choice but to react in self-defense, first, by erasing the source of the attack (the Arab man and his shining knife) and then by firing four additional shots for the four elements of nature.

Meursault awaits his execution in a tiny prison cell. Only a confined space can allow him to concentrate on the essential and to think philosophical thoughts, unmolested by outside distractions and pointless discussions. After his final metaphysical revolt he is ultimately at peace, as evidenced by the stars shining on his face like a celestial projector, instead of the relentless and punishing sun, and by the heat now being replaced by the refreshingly cool night breeze on his cheeks. This Meursault calls “the benign indifference of the universe.”

Marengo is a retirement home and cemetery located some fifty miles west of Algiers. Before and during his mother’s funeral Meursault shows a strange callousness and lack of sorrow about her death. The unbearable heat and the blinding glare of the sun further aggravate this insensitivity, as he matter-of-factly attends the ceremony. Apparently unmoved by the occasion, he also observes the arid landscape around him, noting the green cypresses, the red soil, the humming insects, the rustling grass, and the various smells.

Swimming Pool

The swimming pool is part of the harbor complex. Rather than mourn over his mother’s death, Meursault spends the next day with a female former coworker at the pool. The two then go to a movie theater to see a comedy and lastly to his apartment, where they spend the night together.

Detention Center

This is the jail in which Meursault is held before his trial. He and his court-appointed lawyer discuss his defense, which, given his general apathy, does not look promising. Progressively, as he understands the purpose of his imprisonment, he adapts to his new environment by killing time and by sleeping.

This is the room in which Meursault’s trial takes place. Again, the heat is stifling, increased by the hour of the day and the large crowd of spectators and reporters. Again he responds and reacts in an all-too-aloof and unconcerned manner. This is why he is considered a “stranger,” quickly found guilty, and sentenced to death.

Examining Magistrate’s Office

The first time Meursault is formally interrogated, the nondescript, ordinary room is so hot, with flies buzzing around, that he nods to any statement, from accepting Christ as his personal savior to being vexed over having shot a man.

"The Stranger - Places Discussed." Critical Guide to Settings and Places in Literature, edited by R. Kent Rasmussen, eNotes.com, Inc., 2003, 31 Aug. 2024 <https://www.enotes.com/topics/stranger/in-depth#in-depth-places-discussed>

Historical Context

After the Napoleonic era, France resumed its policy of imperialist expansion by invading Algeria in 1830. The French quickly took control of Algiers and several coastal areas, but it wasn't until 1857 that they subdued the entire region. France sent settlers to colonize Algeria, but even by 1940, French settlers were outnumbered nine to one by the local population. During World War II, many Algerians sided with Germany, which had occupied France. However, they were not strongly opposed to the Americans, and when General Eisenhower landed in November 1942, he encountered minimal resistance. This invasion prevented Camus from leaving France to join his wife in Algeria until France was liberated in 1944. Throughout the remainder of the war, the Algerian independence movement grew stronger due to interactions with British and American soldiers.

After the war, the independence movement continued to gain momentum but was met with violent suppression by French forces. The conflict intensified when the National Liberation Front (FLN) drafted a new constitution in 1947. Unable to fulfill the promises of the new constitution, the FLN initiated a war of independence against France in 1954. By 1962, Charles de Gaulle agreed to grant Algeria its independence.

World War II

By 1942, World War II was in full swing, with America declaring war on Japan and Germany following the attack on Pearl Harbor. However, the outlook for the Allies was grim. France had fallen to the Germans, and British forces were pushed back to India by the Japanese. On the Russian front, the Germans appeared close to capturing Stalingrad, launching a brutal siege in February. Despite these setbacks, there was still hope as both the British and Russians refused to surrender. Geography favored the Russians, and the Royal Air Force's superiority made the siege of Britain perilous for the Germans.

As summer progressed, the Allies began to gain ground against the Axis Powers. American efforts were increasingly successful in supplying the Allies through their base in Iceland. Significant progress was made in June when the American Navy defeated the Japanese in the Battle of Midway. This decisive victory halted Japanese expansion in the Pacific and severely weakened their naval capabilities. In November, Eisenhower led a joint British-American force in a landing in Algeria. Meanwhile, in Russia, the Germans failed to secure victory as the Russian army steadfastly resisted. By the year's end, Russia had lost 750,000 soldiers, but the Germans also suffered heavy losses, with only eighty thousand men surviving through cannibalism and surrendering by February 1943. Gradually, the tide began to turn against the Germans.

"The Stranger - Historical Context." Novels for Students, Vol. 6. Gale Cengage, 31 Aug. 2024 <https://www.enotes.com/topics/stranger/in-depth#in-depth-historical-context>

Literary Techniques

The Stranger is arguably the most unique of Camus’s works. Rather than a traditional novel, it is presented as a narrative, embodying the essence of the “new novel” that 1960s writers, inspired by Camus, would later explore. Essentially, the story is a fragmentary tale, leaving many elements to the reader’s imagination. This fragmentation highlights the incoherence of the absurd world. The language and style choices reflect Meursault’s indifference and apathy. Instead of the passe simple, the conventional past tense used in literature, the author opts for the passe compose, or conversational past. Camus frequently uses indirect speech, emphasizing the disconnect between events and Meursault’s thoughts.

The novel is split into two parts with a parallel structure. Critics often regard the first part as superior and more innovative. Here, Meursault elaborates on the disconnect between the world and himself. The second part, which focuses on his trial, is richer in irony and lyricism, with a notable emphasis on solar imagery and poetic elements. Despite this, in both sections, Camus demonstrates his narrative prowess and lyrical talent.

"The Stranger - Literary Techniques." Beacham's Encyclopedia of Popular Fiction, edited by Kirk H. Beetz, Vol. 7. Gale Cengage, 2001, 31 Aug. 2024 <https://www.enotes.com/topics/stranger/in-depth#in-depth-techniques>

Social Concerns

The Stranger was the first significant novel to come out of French Algeria. The Arab presence is crucial in the narrative, highlighting themes of kinship, rivalry, and bloodshed. The act of violence, where Meursault murders an Arab man, underscores the tension in Arab-European relations. However, the Arabs were not inherently adversaries to the French; the murdered man represents his people as a symbol of silence and reflection. Meursault's senseless act of killing demonstrates that murder is not a solution to the Arab-European conflict, which would later escalate into warfare in the 1950s—a conflict where Camus opposed the push for native independence.

Camus also explores the theme of justice during Meursault's trial. In reality, it is a mockery of justice, as he is judged not for the act of murder but for his indifferent reaction at his mother’s funeral. Throughout the trial, Meursault is stripped of his identity, never given a real chance to speak, with his lawyer speaking on his behalf using the first person. Meursault symbolizes an individual persecuted by society for rejecting its deceit and hypocrisy. He refuses to partake in its artificial norms and will not play along with its charades. Ultimately, he is convicted on a technicality, illustrating that the trial is nothing more than an empty formality.

"The Stranger - Social Concerns." Beacham's Encyclopedia of Popular Fiction, edited by Kirk H. Beetz, Vol. 7. Gale Cengage, 2001, 31 Aug. 2024 <https://www.enotes.com/topics/stranger/in-depth#in-depth-social-concerns>

Literary Precedents

Camus is frequently compared to Pascal in terms of existential questioning and despair, despite Pascal's staunch belief in immortality. Among his 19th-century forerunners are the skeptical Vigny and Stendhal. Stendhal's The Red and the Black (Le Rouge et le noir,  1830) features both a mistrial and a condemnation based on technicalities. Victor Hugo’s The Last Day of a Man Condemned to Death (Le Dernier jour d’un condamné , 1829) similarly delves into the thoughts of a man in prison. Meursault’s crime bears resemblance to the one in Samuel T. Coleridge’s The Rime of the Ancient Mariner (1798).

Germaine Bree identifies echoes of Fyodor Dostoevsky’s Dmitri Karamazov in Meursault, noting that “his real crime was not the one he is tried for, but one which will lead him to a new level of awareness” ( The Brothers Karamazov [ Bratya Karamazov ], 1879–1880). Lastly, the use of short, disjointed sentences throughout the narrative is highly reminiscent of Hemingway, who significantly influenced many mid-20th-century French writers.

"The Stranger - Literary Precedents." Beacham's Encyclopedia of Popular Fiction, edited by Kirk H. Beetz, Vol. 7. Gale Cengage, 2001, 31 Aug. 2024 <https://www.enotes.com/topics/stranger/in-depth#in-depth-literary-precedents>

Adaptations

The only one of Camus’s novels adapted for the cinema is The Stranger , produced by Paramount in 1967 and directed by Luchino Visconti. Emmanuel Robles, a friend of Camus, contributed to the screenplay, which remained quite faithful to Camus’s original text.

There is also a short film titled Albert Camus: A Self-Portrait , produced by Fred Orjain. This film features Camus discussing theater and includes some scenes of Algeria. Additionally, several sound recordings exist of Camus’s voice, where he reads excerpts from The Fall (1956), The Plague (1947), and The Stranger .

The 1950 film Panic in the Streets , directed by Elia Kazan, although not directly inspired by Camus, explores the same theme of a plague as in Camus’s The Plague .

"The Stranger - Adaptations." Beacham's Encyclopedia of Popular Fiction, edited by Kirk H. Beetz, Vol. 7. Gale Cengage, 2001, 31 Aug. 2024 <https://www.enotes.com/topics/stranger/in-depth#in-depth-adaptations>

Media Adaptations

Only one adaptation of Camus's novel has been made for the screen. Directed by Luchino Visconti, L’Etranger was produced by Paramount Pictures in 1967. Although the film did not successfully convey Camus's unique style, Marcello Mastroianni's portrayal of Arthur Meursault is outstanding. Additionally, Anna Karina provides a commendable performance as Marie Cardona.

"The Stranger - Media Adaptations." Novels for Students, Vol. 6. Gale Cengage, 31 Aug. 2024 <https://www.enotes.com/topics/stranger/in-depth#in-depth-media-adaptations>

Bibliography and Further Reading

Donald Lazere, The Unique Creation of Albert Camus , Yale University Press, 1973.

Henri Peyre, “Camus the Pagan,” in Yale French Studies , Vol. 25, 1960, pp. 65-70.

Richard Plant, “Benign Indifference,” in The Saturday Review of Literature , Vol. 29, No. 20, May 18, 1946, p. 10.

Jean-Paul Sartre, “An Explication of The Stranger ,” in Camus: A Collection of Critical Essays , edited by Germaine Bree, Prentice-Hall, 1962, pp. 108-21.

Philip Thody, “Camus’s L’Etranger Revisited,” in Critical Quarterly , Vol. 2, Summer, 1979, pp. 61-69.

Colin Wilson, The Outsider , Houghton Mifflin, 1956.

For Further Study

Robert J. Champigny, A Pagan Hero: An Interpretation of Meursault in Camus’s The Stranger , translated by Rowe Portis, University of Pennsylvania Press, 1969. Champigny examines Meursault through multiple readings, portraying him as innocent but with traits that lead to his culpability. He also asserts that Meursault’s response to his guilt elevates him to a heroic status.

Raymond Gay-Crosier, “Albert Camus,” in Dictionary of Literary Biography , Volume 72: French Novelists, 1930-1960, edited by Catherine Savage, Gale Research, 1988, pp. 110-35. This article provides a comprehensive overview of Albert Camus’s life and literary contributions.

Adele King, Notes on L’Etranger: The Stranger or The Outsider , Longman York Press, 1980. King offers an introduction to the novel, detailed chapter summaries, and concise critical commentary on key aspects such as theme, historical context, structure, and style. An invaluable resource.

Patrick McCarthy, Camus: A Critical Study of his Life and Work , Hamish Hamilton, 1982. This book-length study delves into Camus’s life and works, situating them within the historical backdrop of war and conflict.

Norman Podhoretz, “The New Nihilism and the Novel” in his Doings and Undoings , Farrar, Straus, 1964, pp. 159-78. Podhoretz argues that Camus was the first to recognize the shift in twentieth-century fiction heroes from rebels to strangers, highlighting the significance of new nihilism in literature.

Jan Rigaud, “Depictions of Arabs in L’Etranger,” in Camus’s L’Etranger: Fifty Years On , edited by Adele King, Macmillan, 1992. This essay is part of a collection exploring various aspects of the novel, including literary influence, textual analysis, and comparative studies. Rigaud’s piece specifically focuses on the often-overlooked portrayal of Arabs in The Stranger .

English Showalter Jr., The Stranger: Humanity and the Absurd , Twayne, 1989. This accessible introduction to the novel provides historical context, discusses its significance, and offers an overview of its critical reception. The latter half of the study presents a detailed analysis of the text.

"The Stranger - Bibliography and Further Reading." Novels for Students, Vol. 6. Gale Cengage, 31 Aug. 2024 <https://www.enotes.com/topics/stranger/in-depth#in-depth-bibliography-bibliography-1>

Bibliography

Bree, Germaine, ed. Camus: A Collection of Critical Essays . Englewood Cliffs, N.J.: Prentice-Hall, 1962. An early collection of essays by outstanding critics. Includes a translation of Jean-Paul Sartre’s influential “Explication of The Stranger .”

Ellison, David R. Understanding Albert Camus . Columbia: University of South Carolina Press, 1990. An overview of the development of Camus’s themes and writing style. Focuses on Camus as a literary man whose works embody a consistent philosophical outlook. Especially useful for first-time readers of Camus.

King, Adele, ed. L’Étranger: Fifty Years On . New York: St. Martin’s Press, 1992. Twenty original essays by leading Camus scholars. Offers a variety of viewpoints and provides a valuable companion to a study of the novel.

McCarthy, Patrick. Albert Camus: The Stranger . Cambridge, England: Cambridge University Press, 1988. Analyzes the strengths and weaknesses of the novel. McCarthy is especially good on the novel’s political aspects and on how Camus manages to transform an unsympathetic protagonist into an Everyman.

Rhein, Phillip H. Albert Camus . Rev. ed. Boston: Twayne, 1989. Relates The Stranger to the whole of Camus’s philosophy and focuses on the novel as a reflection of that philosophy. Provides an enlightening companion volume to Ellison’s Understanding Albert Camus .

"The Stranger - Bibliography." Great Characters in Literature, edited by A. J. Sobczak and Frank N. Magill, eNotes.com, Inc., 1998, 31 Aug. 2024 <https://www.enotes.com/topics/stranger/in-depth#in-depth-bibliography-bibliography-2>

Albert Camus's The stranger : critical essays

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• Contributor bios
• "J' ai compris que j' étais coupable" ("I understood that I was guilty"): a hermeneutical approach to sexism, racism, and colonialism in Albert Camus' L'éstranger/The stranger / George Heffernan
• Meursault: mad bad messiah? / Simon Lea
• Dualisms in Albert Camus's The stranger / Peter Francev
• Rien, rien n' avait d' importance et je savais bien pourquoi ("Nothing, nothing mattered, and I well knew why"): the world according to Meursault -- or a critical attempt to understand the absurdist philopsophy of the protagonist of Alber Camus's The stranger / George Heffernan
• L'estranger and the messianic myth, or Meursault unmasked / Ben O'Donohoe
• "It was there that it all started" : Meursault's ascent in Albert Camus' The stranger / Ron Srigley
• Of dogs and men: empathy and emotion in Camus' The stranger / Ingrid Fernandez
• Meursault and the indifference of death: a logotherapeutic perspective / Peter Francev
• Reading Camus in the age of absurdity: toward a constructive reading of The stranger / Brent Sleasman
• A stranger of words / Svenja Schrahe
• Albert Camus' poetics of strangeness in translation: a comparative analysis of text in context / Roosje Dejonghe
• Meursault and moral freedom: The stranger's unique challenge to an enlightenment idea / Matthew Bowker
• Don Juanism and The stranger / Jasmine Samra
• Does Meursault lie? / Mary Gennuso
• Camus's literary criminal and the law: loathing the outsider / Stephan Lancy.

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The Stranger Essay

The Stranger is one of the most famous novels by Albert Camus. The novel tells the story of Meursault, a man who is seemingly indifferent to the death of his mother and the trial that follows her death. The book has been praised for its exploration of freedom and death, two central themes in Camus’s philosophy. In The Stranger, Camus challenges our notions of what it means to be free and whether or not we can truly control our own destiny. The book is a powerful reminder that life is unpredictable and often meaningless, but that doesn’t mean we shouldn’t live it to the fullest.

The idea that individuals are free when they die is taken from The Stranger by Camus, as it is in all of his works. One dependent on the other, freedom and death are major themes in Camus’s view. For Camus, freedom springs from a sense of ones life; it is an intense magnificent existence that does not need to be redeemed or regretted. Death is unjustified and ridiculous; it simply represents a return to the cosmos for a liberated individual.

The key to this awareness is lucidity, seeing things as they are without illusions. The stranger is the character in The Stranger who most fully embodies and experiences these ideas. The novel also dramatizes the confrontation of the individual with an unjust, absurd world. The central problem of the novel is whether or not the stranger can maintain his freedom and integrity in the face of a hostile and indifferent universe. The answer to this question is ambiguous, and its ambiguity is one of the chief sources of the novels power.

In The Myth of Sisyphus, Camus explores the idea that life may have no inherent meaning but that it can be lived fully in accordance with ones own values. The title refers to the ancient Greek legend of Sisyphus, a man condemned by the gods to roll a heavy rock up a hill, only to have it roll back down again each time he nears the top.

The point of the story is that Sisyphus chooses to continue his task even though it is pointless; in so doing, he affirms life and gives it meaning. The character of Meursault in The Stranger may be seen as a modern-day Sisyphus. Like Sisyphus, Meursault is an individual who feels no connection to the world around him and who experiences life as meaningless. Yet he persists in living, despite the futility of existence. In this way, he too affirms life.

In a nutshell, The Stranger is a Camusian parable about the necessity of what is necessary for freedom. Meursault, the protagonist of The Stranger, is not a person one would encounter in real life in this regard; until the novel’s conclusion, Meursault was unable to attain enlightenment and freedom from Camus philosophy.

The Stranger begins with Meursault receiving a telegram informing him of his mother death. The first act that Meursault does is to go and inform his employer, for which he is reprimanded. From the very beginning, then, we see that Meursault is indifferent to the social conventions that most people live by. This indifference toward social conventions continues when Meursault attends his mother funeral. He shows no emotion whatsoever during the funeral, which shocks and upsets everyone else in attendance.

The only thing that Meursault seems to be concerned about is whether or not the funeral will interfere with his plans for the weekend.

After the funeral, Meursault goes on vacation with a friend named Raymond. While on vacation, they meet some Arabs, and Raymond gets into a fight with one of them. The next day, Meursault goes for a walk on the beach with Raymond and the Arabs. The Arabs spot them and start following them.

Meursault and Raymond eventually lose them, but when they go back to where they are staying, they see the Arabs again. The Arabs start throwing rocks at them, and one of the rocks hits Raymond in the face. The two men then go back to town to get a gun, and they go back to the beach and kill the Arabs.

Back in court, Meursault is found guilty of murder. The prosecutor tries to get him to show some regret or emotion for what he has done, but Meursault remains indifferent. The only thing that matters to him is whether or not he will be executed. In the end, Meursault is sentenced to death, and he accepts it without any regrets.

Camus’s philosophy is based on the idea that there is no inherent meaning in life, but that we can create our own meaning by living in accordance with our own values. This is what Camus calls “the absurd” – the recognition that life is ultimately meaningless, but that we can choose to live in a way that makes our life meaningful. The goal of Camus’s philosophy is to achieve a “state of freedom” in which we are able to live authentically, according to our own values, despite the absurdity of life.

Meursault is not able to achieve this state of freedom until the end of the book, but he is still living in accordance with Camus’s philosophy even though he is not aware of it. The fact that Meursault is indifferent to social conventions and does not care about anything except his own interests shows that he is living authentically, in accordance with his own values. The fact that he is willing to accept death without any regrets shows that he has achieved a state of freedom in which he is not afraid of death or of the absurd.

An irreligious person from a nation that has never heard of Christianity is an example of his counterpart in the Christian worldview. Having it explained to him by a missionary, he understands he has never sinned, which represents the morality and characteristics needed for liberty in this case. What was Meursault’s underlying moral value? His foremost character trait is his dedication to absolute knowledge. While Meursault’s truth of being and feeling takes this form, it remains true for the conquest of the self or the world.

The absolute, according to Camus, liberates. The second trait is Meursault’s courage in the face of death. The hero is he who faces death without flinching and thereby affirms life. To be sure, Meursault does not so much confront death as accept it as a natural phenomenon; but this is tantamount to the same thing. For Camus, life and death are two aspects of the same reality. The third quality is Meursault’s detachment or indifference to opinion. He does not care what people think of him; he lives for himself alone”

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The Stranger

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Meursault is detached from society and struggles to care about anything. How is his detachment portrayed in the novel? How does this apathy affect his relationships with other characters and with society? How does Meursault overcome or accept this sense of meaninglessness?

Raymond Sintes is the closest character to a villain in The Stranger. How does his character compare and contrast with Meursault?

Salamano and his dog are caught in a vicious cycle. How does their acrimonious relationship echo the travails of the other characters?

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The Stranger

The strangest stranger caitlin tran 11th grade.

When Albert Camus’ novel, The Stranger, was first published in 1942, many readers did not know what to think of Meursault, the emotionally disconnected protagonist of Camus’ story. His absurdist views confused the masses that yearned for meanings behind actions. However, it was not only readers who did not understand Meursault. Fellow characters in Camus’ novel, as well, failed to comprehend the character’s philosophy. Ultimately, Camus’ title The Stranger is a fitting characterization of Meursault who is separated by a “glass partition” from friends, society, and even himself.

Throughout the novel, it becomes apparent that Meursault is not truly understood by anyone- not even his closest friends. For example, Meursault’s neighbor, Salamano, in an uncalled for attempt to comfort his friend, declares that Meursault, “must be very sad since Maman died … he knew [Meursault] loved her very much” (45). To the reader, the notion that Meursault had any affection for his mother is an absurd thought as he has not shown any signs of sadness since his mother’s death let alone any emotion. In fact, Meursault does not even know his own mother’s age, replying to his boss’ inquiries that she was “about sixty” (25). Depicted as cold and...

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“The Stranger” by Albert Camus Essay

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Introduction

Brief plot overview, the novel analysis.

The Stranger is considered to be a novel written by Albert Camus in 1942. This work is regarded to be the embodiment of philosophical concepts developed in the previous century. Many scholars refer the novel to existentialism direction, though the author never considered himself the representative of this branch. It is necessary to underline the fact that The Stranger depicts the author’s world perception, who treated it as indifferent and absurd. Nevertheless, Albert Camus managed to show the narrator’s attempts to rebel against personal indifference to obtain the best human values and virtues.

The Stranger is dedicated to the story of Meursault, a Frenchman and a story protagonist, who is characterized as an innately passive and emotionally detached person. His killing of an Arab man is perceived as a burst of irrational action. The investigation carried out by the police, led to Meursault’s execution for his disability to express proper feelings for the character’s dead mother, but not for the murder he committed. It is necessary to underline the fact that the novel is logically divided into two parts, one of which tells the story before the murder, and the other reflects Meursault’s life after his crime.

The Stranger appeared to be a successful philosophical masterpiece, bringing numerous criticism and responses on the part of scholars. The central concept of the novel is dedicated to the symbolization of ‘absurd’ as the key element accompanying a person’s life and impacting the formation of human behavior and actions in society. Camus demonstrates the idea that human existence is not evaluated through its rational meaning. Nevertheless, the difficulties connected with this author’s concept identification make people unintentionally create artificial rational structures, providing a sense for their lives. The Stranger allows the readers to evaluate the concept of ‘absurdity’ on the example of the narrator’s style of life and behavior.

Irrationality is symbolized throughout the whole novel; it characterizes Meursault’s connection with the internal and external world. Unreasonable thoughts and decisions made by the protagonist, such as marriage and crime, can not be characterized as rational.

‘For the first time maybe, I really thought I was going to get married’ (Camus and Stuart, 50)

It is necessary to underline the idea that the author strived to make the readers think of their mortality and life meaning. Analyzing the characters’ behavior one can stress the idea, that people live in constant search for the meaning of existence and actions, but very often we forget, that there is nothing to be searched for in reality. All the actions are treated as unreasonable making Meursault be a stranger among others. (Shoham, 54)

The Stranger is a novel translated from French, having several translated copies with considerable differences in interpretations. Thus, very often the novel is translated as ‘outsider’, identifying the character as the one, living outside the society. This idea is different from the one, which the author strives to demonstrate. Meursault is a symbolic representative of irrational evil, living in the society and feeling its pressure in search of meaning. Nevertheless, the second part of the novel is dedicated to social absurd embodiment through the trial and attempts to find the meaning in Meursault’s actions. (Kaplan, and Skolnick, 39)

One more aspect analyzed in the novel is dedicated to the importance of the physical environment. The Stranger cannot be called emotional or expressive, because its protagonist discloses no feelings or worrying about emotional life aspects. All the relationships the character has with Marie and her family is based on physical satisfaction, rather than moral happiness. For example, the case of his mother’s death is not so oppressive for Meursault, as funeral procession heat, causing physical inconvenience; the same reason appeared to be the key motivation for Arab killing, caused by character’s sufferings under the sunlight.

‘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.’ (Camus and Stuart, 3)

One of the central novel motifs is observation, showing how people live in a state of constant watching each other’s actions and behavior. The evaluation of absurdity and meaningless is reached through social observation centralized in the story. For example, the physical inconvenience of the character is caused by the sun watching, and Meursault’s execution is the result of the jury observation. The idea of depicting human life in search of meaning is based on the concept of watching and analyzing external and internal human activities. (Morris, 117)

The Stranger can be analyzed as a valuable contribution to philosophical thought development through Camus’ successful presentation of human life in the modern world. The central idea depicted by the author gives an opportunity to understand absurdity of our meaning search, instead of creating the meaning with our hands. It is necessary to stress the point that the novel can be regarded as real masterpiece to be read by the students for the purpose of watching their order of life and balancing physical and moral values.

Camus, Albert and Stuart, Gilbert. The Stranger . Vintage Books, 1954.

Kaplan, John and Skolnick, Jerome. Criminal justice: introductory cases and materials . Foundation Press, 1982.

Morris, Donald. Opportunity: optimizing life’s chances . Prometheus Books, 2006.

Shoham, Giora. Society and the absurd: a sociology of conflicting encounters. Sussex Academic Press, 2006.

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Bibliography

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Essays on The Stranger

Prompt examples for "the stranger" essays, meursault's indifference to life.

Explore Meursault's character and his indifference to life, including his actions and emotions. How does his apathy shape the events of the novel, and what does it reveal about existentialism?

Existentialism in "The Stranger"

Analyze the existentialist themes present in the novel. How does Meursault's worldview and choices align with existentialist philosophy, and what existentialist concepts are evident in the story?

The Absurdity of Life

Discuss the theme of the absurd in "The Stranger." How does the novel portray the absurdity of human existence, and what role does it play in Meursault's actions and his trial?

The Trial and Social Conformity

Analyze Meursault's trial and its connection to societal norms and conformity. How do Meursault's actions challenge social conventions, and how does society react to his non-conformity?

Relationships in the Novel

Examine the relationships Meursault has with other characters in the novel, such as Marie and Raymond. How do these relationships reflect Meursault's emotional detachment, and what do they reveal about human connection?

The Symbolism of the Sun

Discuss the symbolism of the sun in "The Stranger." How is the sun used throughout the novel, and what does it represent in relation to Meursault's experiences and emotions?

Camus's Writing Style

Analyze Albert Camus's writing style in "The Stranger." How does his prose contribute to the overall mood and themes of the novel, and what literary techniques does he use to convey his ideas?

Meursault's Transformation

Examine any potential transformation or realization that Meursault experiences throughout the novel. Does he undergo any change in his worldview or attitude towards life by the end of the story?

Isolation and Alienation

Discuss the themes of isolation and alienation in the novel. How does Meursault's detachment from others and society contribute to his existential crisis and the events of the story?

Moral and Philosophical Questions

Explore the moral and philosophical questions raised by "The Stranger." What ethical dilemmas does Meursault's story present, and how do readers interpret his actions in a moral context?

The Character of Monsieur Meursault in The Stranger

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Existentialism in Albert Camus' The Stranger

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Analysis of Meursault's Shift in Character in The Stranger

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Alienation in Hunger, Metamorphosis and The Stranger

Meursault as an existential character in the stranger, meursault nonconformist character in the stranger, a comparative analysis of how the protagonist in the stranger and the thief and the dog is affected by alienation, abnormality and isolation in the metamorphosis and the stranger, the effectiveness of brutality as depicted in the stranger, feeling mercy for the protagonist in the stranger and the metamorphosis, the virtues of meursault in the stranger, analysis of meursault in camus' the stranger, a study of the characterisation and use of symbols in the stranger and the first confession, women's contribution to meursault's enlightenment in the stranger, a reflection of the turmoil in the 20th century in literature, the meaning of salamano's canine in the stranger, a theme of society's self-deception in the stranger, "the stranger" by albert camus: an existential exploration of absurdity, the stranger setting analysis, the symbolism of "the stranger", meursault character analysis, is hamlet a good person.

• 1942 (Gallimard, French)
• 1946 (Hamish Hamilton, English)

Albert Camus

Novel, Philosophical fiction, Absurdist fiction, Reference work, Crime Fiction, Existential Fiction

Meursault, Salamano, Raymond Sintes, Marie Cardona, Masson

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My son wants to be like Billy Hargrove from 'Stranger Things,' so I'm using the opportunity to talk to him about right and wrong

• My son and I watched "Stranger Things" together, and he was drawn to Billy Hargrove.
• When he became interested in things like hair metal and lifting weights, I started to worry.
• But I used the opportunity to talk to him about right and wrong in the context of the character.

When I watched " Stranger Things " with my son, I could have never expected that he would be drawn to Billy Hargrove, who isn't exactly the good guy. My son is 10 now, going into fifth grade, and his admiration of Billy persists.

It has led to an obsession with hair metal, lifting weights , and wanting to have the same exact Camaro when he grows up. I've tried explaining to him that Billy isn't the best role model, but in truth, I can see why he gravitates toward the character.

Characters, like people, are rarely all good or all bad

While Billy is the bully, he also has a moment of redemption where we see another side of him as a child with his mother on the beach. On top of this memory humanizing Billy for the viewers, he also sacrifices himself in the end to save everyone else, which is an awfully selfless move to make for being the bad guy .

So, though I sometimes struggle with my son's desire to be a miniature Billy Hargrove, I get it. A good story should have characters like Billy because people are complex, and no one is all good or all bad.

Complicated characters provide opportunities for critical thinking

As a middle and high school English teacher , I've witnessed the impact of having characters in stories that aren't easy to write off. To me, there's nothing better than having material that makes students think critically or disagree with each other.

Related stories

So, is Billy a bad person? The short answer is that it's not that simple. Billy does many things that are undeniably wrong, from speeding to being mean to his younger stepsister. In fiction, everything is written intentionally, from the characters' actions to their appearances, and I always ask my students to examine both closely.

Billy's tight jeans and primped hair show us he cares about being attractive or looking cool. We know that Billy cares a lot about dating and handles his looks as a means to that end. While having relationships is healthy and dating has its place in our lives, talking about the character's approach to his appearance opened up a deeper conversation with my son.

Talking to him about why he sees Billy as cool became an in-depth discussion about right and wrong and what things in life we should value most. Often, analyzing the antagonist of a story can lead to far deeper conversations than simply saying, "They're just the bad guy."

A story can be more impactful than any lesson or lecture

As a teacher and a mother, I've seen that making the time for careful reflection together after experiencing a story through a book, show, or movie can be more impactful than any lesson or lecture I could ever give my students or my son.

The best thing about Billy Hargrove is that he shows the ability to transform. He goes from a stereotypical bad guy to a hero. And he's not the only transformation we see on the show; Steve Harrington is another "Stranger Things" character who undergoes a major evolution, from a bully into a loveable babysitter.

Characters like these, who show not only that it is possible to change but also that it doesn't have to be difficult, are important examples — especially for young people who are still figuring out what kind of person they want to be.

I think about my own role models growing up

There are moments when I become less optimistic about my son looking up to characters like Billy Hargrove, such as when I'm concerned he's too preoccupied with working out. Sometimes, my worries about him going down the wrong path cloud my vision, and I wonder if I'm not steering him in the right direction.

But then I remind myself that he's 10. When I was 10, I thought I wanted to be Ginger Spice, and I remember my own dad getting upset about that. As I grew up, I tried on all kinds of identities until I figured out who I was. Plus, with maturity came seeing the caricature in characters, especially those in the public eye.

I like getting to know my son through his interests

I know I need to let my son explore why he thinks he wants to be like Billy without getting overly worked up about it. But I also know what interests him provides each of us with a learning opportunity. I can try to teach him what I know about his interests, but I also learn about what he likes and why. Instead of shutting him down out of fear or my own opinions, I'd rather get to know him through talking to him about what appeals to him.

It can be hard as a parent not to want to control who my son grows into, but I know he's his own person. As his mom, all I can do is try to always be there for him as he figures out who he wants to be.

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10 funniest far side comics at the beach.

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Gary Larson's Final Words On His Career Are Bizarre, Touching, & Perfect For The Far Side

"what else didn't i draw": gary larson on the far side comics left unproduced by his retirement, 10 perfect far side comics about penguins.

• Far Side creator Gary Larson always put a unique spin on whatever location he envisioned, as exemplified by these hilarious cartoons set at the beach.
• With his beach-bound comics, Larson turned a tranquil vacation setting into a topsy-turvy environment filled with The Far Side's characteristic chaos and absurdity.
• Gary Larson's comics twisted ordindary beach scenes, taking the familiar and flipping it on its head.

At its best, The Far Side captures things readers know and love, and proceeds to twist those things on their head, making incredibly funny comics as a result – as exhibited by these Far Side comics set at the beach. Repeatedly throughout the years, Gary Larson managed to make a calm and tranquil location like the beach into a chaotic and totally Far Side place.

While comics strips like Peanuts effectively used the beach as a setting for some classic jokes, The Far Side 's oceanside cartoons are something else altogether, negating the wholesome relatable quality of Charlie Brown and the gang's summer antics in favor of silly wordplay and surrealist scenarios.

While some may be put off by the thought of sharks trying to lure people into the water to eat them or a snakes only beach, one cannot deny that the beach bound comic strips of The Far Side are endlessly side splitting and, of course, very weird.

In his final essay from "The Complete Far Side," Gary Larson went on a tangent which delightfully encapsulated the heart of his long-running comic.

10 Gary Larson Depicts A Classic Shark Misdirect

First published in 1984.

After the hysteria that the classic 1975 movie Jaws spurred around shark attacks and sharks in general, people have gotten much more careful and alert when they go to the beach. Consequently, it's a lot harder for sharks to get their, ahem, protein, in, causing them to resort to more creative methods of getting humans into the water. One such shark, who resides in The Far Side , concocts a simple yet effective strategy to drive beach goers into the ocean, yelling "Bear!" and scaring the humans into the water.

Based on the comic, the shark's plan is very effective, with the beachgoers running and screaming into the water rather than away. Letting fear take over, the beachgoers' sense of reason and logic seemingly flies out of the window because bears do not typically reside on beaches.

9 That's Not How You're Supposed To Catch A Frisbee

First published in 1980.

Dogs love to play frisbee with their owners, catching it deftly with their mouth. While it may be typical for humans to play frisbee, what is less common, however, is to see a human play frisbee with their mouth. Frisbee, being the iconic beach sport that it is, gets a Far Side makeover in a 1980 comic that features an annoyed frisbee thrower finding his disc lodged in the mouth of a fellow vacationer, prompting him to ask for it back.

If someone saw another human being catch a frisbee with their mouth, it seems more likely that they would run away from the person rather than run to, to get back the frisbee, but reality does take an unorthodox turn in The Far Side . The guy should really think twice about asking for his frisbee back; does he really want a frisbee with a stranger's slobber encasing it?

8 The Evolution Of Baseball, Far Side Style

First published in 1982.

It is said in evolutionary theory that millions and millions of years ago, some types of fish-like creatures grew legs as an evolutionary adaption that would help increase the chances of success and, most importantly, survival. Gary Larson paints a picture of these prehistoric aquatic creatures, but their reasons for coming up on land have less to do with survival and more to do with a classic sports pasttime: baseball.

When some aquatic creatures with fin-leg looking appendages see that their baseball that they were playing a game with (as noticed by the bat they have with them) has landed on the sand, the two fish dare to venture out and use their fin-legs in a great moment of evolution – well according to The Far Side , at least.

7 Gary Larson Depicts A Classic Migration Mix-Up

Published in 1993.

It's a fact of life that birds migrate to climates and environments that will suit them for the time being. As a result, it is very important that the birds migrate to the right places. The Far Side recognizes this importance and, of course, skewers it in typical Far Side fashion . When a flock of seagulls at a coastal setting are getting ready to take off for the cold, icy tundra of Antarctica, one Hawaiian-shirt-outfitted seagull stands out like a sore thumb, just as the head seagull suggests that anyone not going to Anatractica should speak up now.

One does not need to be an expert in Ornithology to see that one bird in the lineup had no plan that involved Antarctica. The bird wearing the Hawaiian shirt and sunglasses better speak up, or forever hold their peace, because they'll be in for a rude awakening when the cold air hits them in Antarctica if not.

The Far Side Complete Collection

Fans of the far side can't pass up this master collection of Gary Larson's finest work. Originally published in hardcover in 2003, this paperback set comes complete with a newly designed slipcase that will look great on any shelf. The Complete Far Side contains every Far Side cartoon ever published, which amounts to over 4,000, plus more than 1,100 that have never before appeared in a book and even some made after Larson retired. 

6 This Far Side Chicken Needs To Fidn Some Shade Before It Roasts

First published in 1992.

A buzzword for healthy and clean eating for omnivores includes free-range meat, especially in regard to chicken . While free-range chicken is said to be good for humans, it is a scheme for jailbreak for the chicken itself. When a chicken has been made free-range, he takes off and escapes to the beach – what chicken wouldn't? – avoiding becoming someone's dinner and instead lives it up with sand and sun.

The chicken is so happy to be free that he shares his story with anyone who will listen, like the lady on the beach chair next to him. Much like a character from The Shawshank Redemption , the chicken has made it out of imprisonment and escaped to the tropics, being one lucky duck – or in this case, chicken – and it's all thanks to being made a free-range bird.

Over the years, The Far Side developed a fan base among the scientific community; as a result, Gary Larson has not one, not two, but three insects named after him.

5 Gary Larson Depicts A Classic Snake Parenting Rule

First published in 1994.

It is commonly accepted that it's a wise decision to wait 30 minutes before going swimming after eating. When it comes to snakes, however, it is the rule to wait a whole week before swimming, as this little kid snake in The Far Side comes to learn from his scolding serpent parent. While a week may seem a bit excessive, looking at the massive bump in the little snake gives a better understanding of why the snakes need a lot of time to digest before getting into the ocean.

While a beach scene filled with snakes would be nightmare fuel for anyone, especially Indiana Jones, it's just another day in The Far Side's world . Renowned for taking the more mundane aspects of life, like waiting before swimming after eating, Gary Larson always managed to position a surreal twist onto his subject content.

4 The Far Side's Sharks Finally Realize Their Biggest Mistake

First published in 1985.

The tell tale sign to signal holidayers to run away from the water are the imposing dorsal fins peeking through the water, communicating that dangerous sharks lurk in the waters. An effective warning for humans, visible dorsal fins are a diaster for the hungry sharks of The Far Side , who have made their presence too clear to the people on the beach.

As seen by the beachgoers running away from the water in hysterics, arms up in the air and all, the sharks have made a huge and careless mistake by having their fins exposed, resulting in a missed opportunity for lunch. While the sharks may have failed to get an easy meal, they have seen their mistake and look sure to never repeat it again, much to the misfortune of any beachgoers to follow.

Reflecting on his career several years into retirement, Gary Larson admitted that he fleetingly felt haunted by the Far Side comics he never drew.

3 Gary Larson Depicts The Difference Between Fun On Land Vs. At Sea

First published in 1981.

This Far Side beach panel hilariously depicts two creatures – one a land-dwelling human, the other a Creature From the Black Lagoon -inspired amphibian humanoid – crossing paths, each on their way to have some fun in the other's natural environment.

Gary Larson depicts a surfer going into the water, just as the creature come out , no doubt making the surfer dude think twice about jumping into the waves. What the creature plans on doing with their wagon is anyone's guess, but it definitely looks like it is going to have a blast doing it. An absurd, and classic Far Side scenario through and through, the comic strip captures Gary Larson's love of the surreal.

The 1950 children's book Mr. Bear Squash-You-All-Flat was a major inspiration for Gary Larson when crafting The Far Side .

2 Realizing You Forgot Something When You Get To The Beach Is The Worst

First published in 1993.

Kangaroos come built with their own form of a handy storage compartment: their pouches! Hailing from Australia, Kangaroos get access to the prized beaches of the Gold Coast. The Far Side imagines a crazy scenario where the kangaroos have all lined up for a day at the beach, but one of them somehow manages to forget his pocketbook.

Poor Morty is the odd kangaroo out with all his buddies actively engaged in reading their books, with Morty struck by the realization he has forgotten very apparent. Gary Larson was always one to know his way around some wordplay , with the illustration only bolstering the joke. The fact that Larson chose to set this comic at the beach when the joke is able to be made in just about any setting makes the comic strip even more funny and off kilter.

1 These Young Far Side Crabs Just Want A Change Of Scenery

For many, a vacation at the beach would be a luxury, something to be incredibly grateful for. Although, for the kids in a family of crabs, they are not as appreciative as their father would wish they were of their annual beach trip. As seen in The Far Side, when the dad tells his kids that they are not going to the mountains, he scolds them for not being more thankful for their beach sojourn.

Crabs are pretty synonymous with the beach, so the reader can relate to the crab father's outrage and perplexion at the kids wanting a vacation in the mountains. As kooky as The Far Side scenario presented is, many parents can understand where the harried parent crabs in the comic are coming from and have been there themselves, making this Far Side comic funny.

The Far Side

The Far Side is a humorous comic series developed by Gary Larson. The series has been in production since 1979 and features a wide array of comic collections, calendars, art, and other miscellaneous items.