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- <text id=94TT0643>
- <title>
- May 16, 1994: Culture:Mesmerizing Encore from Camus
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1994
- May 16, 1994 "There are no devils...":Rwanda
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- ARTS & MEDIA/CULTURE, Page 91
- A Mesmerizing Encore from Camus
- </hdr>
- <body>
- <p> After 34 years, the Nobel laureate's last, unfinished manuscript
- causes a literary sensation
- </p>
- <p>By Paul Gray
- </p>
- <p> "We are made to live for others. But one really dies only for
- oneself." The author of this journal entry was 46 and world
- famous when he was killed in a car crash south of Paris on Jan.
- 4, 1960. Within this short life, Albert Camus had won the 1957
- Nobel Prize for Literature and produced a compact body of novels
- (The Stranger, The Plague), plays (Caligula) and philosophical
- essays (The Myth of Sisyphus) that both defined and helped create
- a 20th century temperament: We are by ourselves in an absurd
- universe, compelled to act but bereft of any reasonable grounds
- for doing so. Camus seemed to embody the laconic stoicism of
- his works. He was reserved in public; in many of his photographs,
- he looked the way Camus should look, a slender, dark, intense
- Bogart type, a tough guy betrayed by sad eyes.
- </p>
- <p> At the time of his death, Camus was working on a long autobiographical
- novel, which he called Le Premier Homme (The First Man). Near
- the scene of the fatal accident, investigators found Camus's
- mud-stained, accordion-style black briefcase; among its contents
- were 144 handwritten manuscript pages containing about 80,000
- words--a first version of the first part of his intended work.
- Camus's widow Francine refused all entreaties to publish the
- unrevised fragment, but his daughter Catherine, now 48, who
- inherited her father's estate after her mother's death in 1979,
- decided that the manuscript would be made public eventually
- and that she might as well be the one to shepherd it into print.
- She spent three years deciphering her father's crabbed, difficult
- handwriting. Le Premier Homme was published in France in mid-April--and immediately became a sensation.
- </p>
- <p> Camus is once again intriguing literary Paris. "His feverish
- voice is throughout," writes critic Francoise Giroud, "a voice
- that, at times, pierces your heart." In the newsmagazine Le
- Point, Jacques-Pierre Amette declares that "the voice of Camus,
- more resonant than ever in its trembling solemnity, addresses
- itself to today's generation." The book has already run through
- seven printings and sold more than 130,000 copies. Some 20 foreign
- publishers are scrambling for translation rights. Which raises
- a question. Why this excitement over a rough draft of a partial
- novel by an author who died 34 years ago? Even his daughter
- seems startled by the response, acknowledging that "Camus would
- never have allowed this to be published."
- </p>
- <p> Much of the book's impact may be explained on these grounds
- alone: Who can resist an unauthorized peek at the inner life
- of a legend? Le Premier Homme has a confessional feeling, unmediated
- by any of the distancing ironies and disguises Camus employed
- in works published during his lifetime. It cannot be known whether
- he was reaching for the looser and more lush writing style of
- this narrative or whether he did not live to pare away what
- he might have considered its excesses. But his hero, Jacques
- Cormery (the surname of Camus's paternal grandmother), is indistinguishable
- from his creator.
- </p>
- <p> Both are born in the French colony of Algeria to barely literate
- mothers with severe hearing disabilities. Both come to be raised
- entirely by these largely speechless women because both, scarcely
- a year old, lose their fathers, killed in World War I during
- the first Battle of Marne in 1914. Camus writes, in the person
- of Cormery, "I tried to discover as a child what was right and
- wrong since no one around could tell me. And now I recognize
- that everything abandoned me, that I need someone to show me
- the way, to blame and praise me...I need my father."
- </p>
- <p> This initial section of the surviving manuscript, subtitled
- Search for the Father, achieves a raw, personal poignancy that
- Camus never allowed himself to show in life. Le Premier Homme
- also displays Camus's deep, nostalgic affection for the Algeria
- of his childhood, for the French (the pieds noirs) and other
- European settlers who went to the North African Mediterranean
- coast in search of a new world, for what he called in his diary
- "those luminous years."
- </p>
- <p> At the time they were written, such sentiments were heresy to
- the Left Bank literati and their grand panjandrum, Jean-Paul
- Sartre. Algeria was racked by violent attempts to liberate itself
- from colonialism; these would succeed two years after Camus's
- death. His pained middle position on the Algerian question--deploring the atrocities committed by both sides--drew scorn
- from the right and left, particularly Sartre and his circle,
- those existentialists who managed to find a place in their theory
- of limitless freedom for doctrinaire Marxism.
- </p>
- <p> Camus's refusal to seek sanctuary in such abstractions marked
- him as an outsider while he lived and a prophet now, in an age
- of discredited dogmas. Reviewing Le Premier Homme, Paris' Le
- Monde asked, "Can we now rediscover Camus without political
- and historical prejudices, in his quest for truth?" The answer
- will spread with the translations, and it seems to be yes.
- </p>
-
- </body>
- </article>
- </text>
-
-