“There is but one truly serious philosophical problem, and that is suicide.”
Albert Camus · Absurdism
Philosopher
Last reviewed:
1913–1960 · Absurdism · Modern
Albert Camus refused the label of existentialist more than once, and he still belongs in the conversation. The Myth of Sisyphus asks how to live after the absurd, which he defines as a confrontation between the human need for meaning and the silence of the world. The essay opens on suicide and closes by asking the reader to imagine Sisyphus happy.
The happiness is not a mood. It is the claim that the struggle itself can fill a heart. The Stranger is a novel. Meursault's indifference, gentle in Matthew Ward and benign in Stuart Gilbert, is not the essay's last line. The Plague is a chronicle of tending. The Rebel turns 'I rebel' into a 'we', and then attacks revolutions that betray the limit they began from.
Letters to a German Friend want a country and justice together. Name the translator: Justin O'Brien for the essay and the letters, Stuart Gilbert for The Plague, Anthony Bower for The Rebel, Ward or Gilbert for the novel, and do not mix their sentences. He is a moralist of limits. The posters keep the sun and lose the limit.
The Myth of Sisyphus, the opening and the closing, in O'Brien. Then the Rieux–Tarrou conversation in The Plague.
You see the problem and the image people detach from it, and then a novel in which decency has to be practised in a city.
“There is but one truly serious philosophical problem, and that is suicide.”
Albert Camus · Absurdism
“In the midst of winter, I found there was, within me, an invincible summer.”
Albert Camus · Absurdism
“One must imagine Sisyphus happy.”
Albert Camus · Absurdism
“The struggle itself toward the heights is enough to fill a man's heart.”
Albert Camus · Absurdism
“The absurd is born of this confrontation between the human need and the unreasonable silence of the world.”
Albert Camus · Absurdism
“I opened myself to the gentle indifference of the world.”
Albert Camus · Absurdism
“I rebel — therefore we exist.”
Albert Camus · Absurdism
“There are more things to admire in people than to despise.”
Albert Camus · Absurdism
“I should like to be able to love my country and still love justice.”
Albert Camus · Absurdism
“The only means of fighting a plague is common decency.”
Albert Camus · Absurdism
The absurd
Born of need meeting silence. Not a property of the world alone, and not a taste for drama.
Revolt
I rebel, therefore we exist. A limit appears, and murder in history's name betrays it.
Lucidity
Sisyphus is happy because he sees the rock, not because the rock was secretly meaningful.
Decency
In The Plague, the fight is ordinary tending. Rieux is a character. The sense is the book's.
The Stranger (1942)
A novel. Ward or Gilbert, and say which.
The Myth of Sisyphus (1942)
The essay. Justin O'Brien.
The Plague (1947)
Stuart Gilbert. Rieux and the closing admiration.
The Rebel (1951)
Anthony Bower. The break with a certain Sartre.
Letters to a German Friend (1943–1944)
In Resistance, Rebellion, and Death. O'Brien.
None of the lines this library files for Albert Camus is marked Questionable or Misattributed. That is only a fact about these cards. It is not a certificate that every popular sentence is theirs.
The Myth of Sisyphus, the opening and the closing, in O'Brien. Then the Rieux–Tarrou conversation in The Plague. You see the problem and the image people detach from it, and then a novel in which decency has to be practised in a city.
This library does not measure fame, and it does not rank lines by how often they are shared. The first line it files for Albert Camus that is not marked Questionable or Misattributed is “There is but one truly serious philosophical problem, and that is suicide.” (The Myth of Sisyphus, opening, Paraphrase or translation).
None of the lines this library files for Albert Camus is marked Misattributed or Questionable. That is a fact about these cards, not a certificate that every popular sentence is theirs.
The absurd: Born of need meeting silence. Not a property of the world alone, and not a taste for drama.