Prior to seeing, The Man in the Ring, I wasn't sure what to expect. However, after watching the powerful piece I was flooded with excitement and awe.
This production played with the important theme of sexuality. The story takes place in the 1950s-70s. A time where sexuality was still black and white. Then there was Emile Griffith. A young man with a heart of gold and a dark secret.
While watching the play, it was very interesting to see how the character himself and those around him reacted to the situation. At first, Emile seemed to be somewhat open about his feelings until his boxing coach, Howie, immediately shut it down and said it wasn't what a man was and that it made him weak. Emile continued to be beaten down by "ring" of societal acceptance of being straight. No edges, one small space, no room for variety. Not to mention, he had to endure the physical struggle of boxing as well. This torture caused Emile to spiral out of control by attempting to force himself to be something he wasn't.
The aftermath Emile had to suffer was hard to watch. Seeing the mental damage done to him not by who he was but how he was treated was heartbreaking.
Stories like this being presented in the theatre are very important to me. They are cleverly sculpted to expose to the audience how crucial and heartbreaking these tragedies are. These events are not fictional. They happened and they are still happening today. Love is love.
Thursday, October 6, 2016
The Man and the Lights
In "The Man in the Ring", the lighting designers superior ability to evoke an emotion response that would have been impossible had the lighting been even slightly different. For example, at the very end of the second act, as Emile fights Benny, the lighting flickers on and off so that you can only see parts of the fight. I believe that this choice of design helps the viewer to see the fight from Emile's point of view as rage keeps him from even understanding how far the match has gone, and how Benny has been injured. This is reflected at the end of the scene, as Emile stands next to the unconscious Benny, unaware for several seconds that he had even rendered him unconscious. It is because of the lighting that you feel Emile's rage and understand his confusion.
The Adult Male Inside of a Circular Material
"The Man In The Ring" offered an insightful view on the life of Emile Griffith. Coming into the play I had little to no expectations. However, I quickly went from not knowing what to expect to being absolutely amazed by the superior acting, play writing, and everything in between.
Although it was all terrific, one of the things I was most astonished by was the lighting. During the scene in which Emile and Benny were dueling it out in the ring, the lights shut out, but quickly turned back on in a strobe-like fashion. I thought this was a fantastic way to carry out the fight, although it did leave me on the edge of my seat. Also, I thought that the rape scene, when they cut out all of the lights except for Emile's face, reached a new level of emotions that I never could of expected.
Overall "The Man In The Ring" was a beautiful play that really did a great job at tugging at my heart stings. It dealt with sexuality, insecurity, friendship, and more. I thought the character development over the course of the play was phenomenal as well. I recommend this play to anyone, and I hope to see it again for myself in the future.
Although it was all terrific, one of the things I was most astonished by was the lighting. During the scene in which Emile and Benny were dueling it out in the ring, the lights shut out, but quickly turned back on in a strobe-like fashion. I thought this was a fantastic way to carry out the fight, although it did leave me on the edge of my seat. Also, I thought that the rape scene, when they cut out all of the lights except for Emile's face, reached a new level of emotions that I never could of expected.
Overall "The Man In The Ring" was a beautiful play that really did a great job at tugging at my heart stings. It dealt with sexuality, insecurity, friendship, and more. I thought the character development over the course of the play was phenomenal as well. I recommend this play to anyone, and I hope to see it again for myself in the future.
The Imagery, Feelings, and Senses in The Man in the Ring
In my opinion, The Man in the Ring´s portrayal of the inner workings of a man suffering from dementia and the flashbacks of his past accomplishments and mistakes was on point to an extent that I´ve never seen communicated on a stage before.
The actor who played the older version of Emile was outstanding. When he was rolling on the floor screaming from a Vietnam-esque flashback of beign beaten by homophobes with baseball bats, his screaming sounded so real it felt genuinely disturbing for me to watch. In fact, everything down to his manurisms when interacting with Luis convey a clear image of an older man losing touch with reality. Also, the transition of younger Emile becoming more like older Emile, while done very simply, was executed flawlessly.
The smaller sized cast, to my surprise, played to the plays strengths as well, taking complete control of the fact that the majority of the play is made up of flashbacks featuring the few people who Emile actually met and bonded with in his life. Actors reprising roles, such as the three reporters being actors who had already played different parts in the play and (<<SPOILER>>the conveyance of Benny Jr. looking like his father by making the same actor play them (<<SPOILER>>) both work very well, especially when considering Emile´s deteriorating state of mind and failure to remember the faces of people other than those important in his life.
When I originally heard that The Man in the Ring´s main character would be afflicted with mild dementia and had received feedback from professionals of the subject, I became afraid that the play would focus more on showcasing an accurate stage portrayal of dementia than showcasing Emile´s story. My concerns were quickly proven wrong. While older Emile´s dementia is significant to the play´s story, it doesn´t drive it forward, nor does it become too dominant. In fact, one of the biggest ironies of the play is Emile being able to recall his entire past up to the present, but being unable to remember word sequences or the places his clothes should go. This underlying detail, in my opinion, displays Emile´s true inner workings and keeps him unique from any other media portrayal of dementia; while his mind may be falling apart on the outside, he´s still the same person on the inside.
Camus and Benjamin: Individuals
Albert Camus' existential outlook in the Stranger (and everywhere else) gives his writing a uniquely Benjamin-ian perspective. For the first half of The Stranger, everyone Meursault meets, he speaks to, interacts with, and assesses mentally. He sees them as individuals and seems to understand their identities, but his existentialism adds an unforeseen level: he doesn't care.
When people come to Meursault with their problems, he generally listens to them and takes in what they have told him, but goes no further. He doesn't form opinions or interfere in the business of others unless they give him no other choice. When old Salamano loses his dog, he goes to Meursault for help and comfort (which is an interesting choice) and is met with indifference. Meursault tells him to check the pound, then sits quietly for a while, barely listening to Salamano and yawning (44).
Meursault tries to maintain good relationships with others for the most part because he understands their role as individuals, but beyond that, he has little interest in their affairs and he shows it.
When people come to Meursault with their problems, he generally listens to them and takes in what they have told him, but goes no further. He doesn't form opinions or interfere in the business of others unless they give him no other choice. When old Salamano loses his dog, he goes to Meursault for help and comfort (which is an interesting choice) and is met with indifference. Meursault tells him to check the pound, then sits quietly for a while, barely listening to Salamano and yawning (44).
Meursault tries to maintain good relationships with others for the most part because he understands their role as individuals, but beyond that, he has little interest in their affairs and he shows it.
The Stranger in the Ring
After watching Man in the Ring, there was one thing in particular that wasn't wrapped up in a nice bow for me: Benny's family.
Prior to his death, we meet Benny's wife, and hear the story of their unexpected pregnancy. After that, however, we don't meet Benny Jr. until the very end of the play.
For those, like myself, who were not familiar with the story prior to the production, this leaves many questions. Did Emile ever try to get in touch with the Paret family before he slipped further into his dementia? Or did they ever contact him?
Of course, since Benny "The Kid" Paret isn't the protagonist of this play, it is perfectly sensible that the plot doesn't focus more on him. However, that's probably the best part about this play: it covers so much, yet leaves us wondering more.
Prior to his death, we meet Benny's wife, and hear the story of their unexpected pregnancy. After that, however, we don't meet Benny Jr. until the very end of the play.
For those, like myself, who were not familiar with the story prior to the production, this leaves many questions. Did Emile ever try to get in touch with the Paret family before he slipped further into his dementia? Or did they ever contact him?
Of course, since Benny "The Kid" Paret isn't the protagonist of this play, it is perfectly sensible that the plot doesn't focus more on him. However, that's probably the best part about this play: it covers so much, yet leaves us wondering more.
Wednesday, October 5, 2016
The Man in the Ring is the Man of the Hour
"The Man in the Ring" covered so much ground, it is hard for me to even begin this post. The play in it's entirety was absolutely amazing and I give so much credit to the actors for pulling the emotion through it so well. Going into this play, I did not have any expectations and assumed that the emotion of the play wouldn't have gotten through to me very well based on the fact that it was just a college level play. However, I was very wrong.
The play covered heavy topics such as rape, dementia, and abuse, and did so in a manner that was effective and not controversial. To me, one of the most striking scenes was when Luis brought Emile home for the first time. It revealed a truth about Emile that we had not seen before, while also showing the many unfortunate events that were soon to follow. With the emotions and connection that was within this scene, it felt uncomfortable to watch and added several questions (Why is Luis Emile's caretaker in the future? How did they end up at that point?). While it added some confusion to the show, it opened doors to other problems that were to be faced later on. This tremendous impact left the audience in shock and on the edge of their seats.
After seeing the show and staying for the commentary from the actors, I will always remember the story of Emile Griffith, and the actors and show will stay in my mind as well.
Dog Days
"I realized he was crying. For some reason, I thought of Maman." (39)
Meursault overhears Salamano crying over his lost dog, and his thoughts go straight to his mother. Is this him finally showing signs of feeling sad about his mother's death? Or does he just feel guilty about the fact that he has not cried about her yet? Given his lack of interest towards his mother so far, I interpreted it as the latter.
It is also worth noting how in this scene Salamano has become one of the many character foils for Meursault that inhabit this story. The "robot woman"'s obsessive mannerisms contrasted Meursault's go-with-the-flow nature. Marie's exuberance for marriage and her belief in love are countered by Meursault's total apathy towards these things. In his remorse for his dog, Salamano only makes the indifference Meursault feels towards his mother more apparent, and more disturbing.
Meursault overhears Salamano crying over his lost dog, and his thoughts go straight to his mother. Is this him finally showing signs of feeling sad about his mother's death? Or does he just feel guilty about the fact that he has not cried about her yet? Given his lack of interest towards his mother so far, I interpreted it as the latter.
It is also worth noting how in this scene Salamano has become one of the many character foils for Meursault that inhabit this story. The "robot woman"'s obsessive mannerisms contrasted Meursault's go-with-the-flow nature. Marie's exuberance for marriage and her belief in love are countered by Meursault's total apathy towards these things. In his remorse for his dog, Salamano only makes the indifference Meursault feels towards his mother more apparent, and more disturbing.
Meursault's Senses
I think we can all agree that Meursault is what we would call an odd person or someone with a few quirks. That can definitely be seen by how long it takes the lawyer and magistrate to understand who he is. But some of these quirks that Meursault expresses are really quite interesting. One thing that caught my eye was the way he uses his senses to narrate his life. It tends to be visual images or smells. For example, he says, "They came for me at seven-thirty in the morning and I was driven to the courthouse in the prison van. The two policemen took me into a small room that smelled of darkness" (82). That's such an odd way of phrasing it, but that sets up a pretty good image in my mind. I think those words fit well with the feelings Meursault doesn't know he feels as he is about to enter court. It's almost depressing and it makes me sympathize with Meursault. Later on, he uses more scents to describe his scenery and the feelings he struggles to express,
The trial was adjourned. As I was leaving the courthouse on my way back to the van, I recognized for a brief moment the smell and color of the summer evening. In the darkness of my mobile prison I could make out one by one, as if from the depths of my exhaustion, all the familiar sounds of a town I loved and of a certain time of day when I used to feel happy. (97)I think it is very interesting that Meursault describes his life in this way. As seen by his court case he just can't express how he feels. He doesn't know how to explain to other people the thoughts and intentions he has, but when he describes life around him and the things that seem to make him happy we can see his feelings. On Camus' part I think this is genius. To me this makes Meursault that much more complex of a character and at first I thought he was boring. As the story progresses Meursault only gets more interesting.
Madness, Civilization, and Renouncing Order
Ever since Dostoevsky's Notes from the Underground, there has been a trend of protagonists, usually isolated men, who've become sad, melancholic, frustrated, and/or insane from their internal mental struggles to either attain meaning in their lives or to break it down even further. Among these men are the Underground Man, Raskolnikov, Nietzsche himself, Pablo Ibbieta, and Gyorgy Korin just to name a few. Although they are unique in their own rights - especially Korin - they all share a thought process that alienates them from the world.
Meursault, though estranged from us, is not like the other characters in this trend from existentialism because he does not reflect on hierarchical knowledge, order, and existence; he neither questions nor does he accept these to begin with. We can assume that Meursault was not institutionalized since childhood in an everyday sense. In other words, because Meursault has not taken morality and rationality into consideration, he does not suffer from discarding values that other characters hold dearly.
That way, it's not as easy to empathize with Meursault as it is with other people, let alone existential characters, because we have no idea what it simply feels like to see formations of matter (physical objects) and actions without subconsciously attaching meaning to them. So The Stranger is a more difficult story than its voice suggests. Whenever we try to renounce hierarchical knowledge, or Apollonian ethics, it's almost always the case that we lose nothing because we have nothing at replace it all with at the moment. For Meursault, it's as easy as shutting one's eyes...
Meursault, though estranged from us, is not like the other characters in this trend from existentialism because he does not reflect on hierarchical knowledge, order, and existence; he neither questions nor does he accept these to begin with. We can assume that Meursault was not institutionalized since childhood in an everyday sense. In other words, because Meursault has not taken morality and rationality into consideration, he does not suffer from discarding values that other characters hold dearly.
That way, it's not as easy to empathize with Meursault as it is with other people, let alone existential characters, because we have no idea what it simply feels like to see formations of matter (physical objects) and actions without subconsciously attaching meaning to them. So The Stranger is a more difficult story than its voice suggests. Whenever we try to renounce hierarchical knowledge, or Apollonian ethics, it's almost always the case that we lose nothing because we have nothing at replace it all with at the moment. For Meursault, it's as easy as shutting one's eyes...
Does Any of It Matter?
"Looking back on it, I wasn't unhappy. When I was a student, I had lots of ambitions like that. But when I had to give up my studies I learned quickly that none of it really mattered" (41).
Finally a little explanation and insight into Meursaul's apparent indifference and apathy. Or even if he doesn't actually explain why he is so full of indifference here, he at least acknowledges it. Through the book, we've seen a character that just seems to go along with where things take him and give way to the outside influences that seem to direct the focus of his life more than any conscious decision he makes. Whether it be Meursault's willingness to marry a girlfriend he doesn't love because she suggests it or succumbing to the pressures that make him kill the man on the beach.
This quote offers the idea that Meursault's indifference is not an innate character trait but maybe the result of a a series of events that caused him to lose his optimism and drive. Maybe I am making too much of this one quote that is really just an explanation of his lack of career motivation, something that is not at all unique to Mersault, but common to many people who are not absorbed by their job. But the fact that it is followed by Mersault's apathetic attitude towards his relationship with Marie and his willingness to marry he despite this, makes me think that this offers an explanation of the general attitude of Marsault's that nothing matters and that this attitude of his can be used to understand his actions throughout the story including the dramatic end to Part I.
Oh My, Meursault
"And it was like knocking four quick times on the door of unhappiness" (59).
Oh, The Irony...
From the beginning of the book, it is easy to pick up on Meursault's lack of emotion. Throughout various parts of the book, he is shown to be perfectly comfortable with the abuse that he witnesses. At one point, he mentions how his neighbor, Salamano, beats his dog on a regular basis. Directly following the explanation of this horrible fact, Meursault says, "[Raymond] asked me didn't I think it was disgusting and I said no]" (28).
This is where the irony starts. Raymond, another neighbor of Meursault's, is utterly disgusted at the behaviors that Salamano demonstrates towards his dog when he, himself, is known to beat his own mistress. It is as though he recognizes the pain that his neighbor's dog is experiencing more than his human lover. Raymond brings his own set of problems to the table. He asks Meursault to be "pals" and then goes on to tell him that he needs help punishing his mistress emotionally. At this point, Raymond has already told Meursault about how he beats his mistress, but Meursault does not seem to be bothered by it. Raymond decides that the way he will be able to punish his mistress to the extent that she deserves is by writing a letter. Meursault continues to surprise us when he says, "But Raymond told me he didn't think he could write the kind of letter it would take and that he'd thought of asking me to write it for him. Since I didn't say anything, he asked if I'd mind doing it right then and I said no" (32).
Emotionless Meursault strikes again! He not only has no problem with animal abuse, but domestic abuse as well! You would think that he would never feel anything for another human being, right? Wrong! Here is where more irony in the story is brought into play. When Meursault is talking to Raymond about killing the Arabs at the beach later on in Part 1, he says, "'But if he doesn't draw his knife, you can't shoot'" (56). It is almost as though Meursault wants the Arabs to be treated fairly, even though he doesn't know them.
Meursault is extremely hard to read at this point in The Stranger. He has shown that he is able to turn a blind eye to horrors that surround his daily life and affect him directly, but doesn't want to hurt the Arabs if they mean no harm. Is it because they are men? Does he not notice the domestic and animal abuse that he is around on a regular basis because they have become so routine to him? At this point, we really don't know why Meursalt acts the way he does. He continues to surprise us with each page turn.
This is where the irony starts. Raymond, another neighbor of Meursault's, is utterly disgusted at the behaviors that Salamano demonstrates towards his dog when he, himself, is known to beat his own mistress. It is as though he recognizes the pain that his neighbor's dog is experiencing more than his human lover. Raymond brings his own set of problems to the table. He asks Meursault to be "pals" and then goes on to tell him that he needs help punishing his mistress emotionally. At this point, Raymond has already told Meursault about how he beats his mistress, but Meursault does not seem to be bothered by it. Raymond decides that the way he will be able to punish his mistress to the extent that she deserves is by writing a letter. Meursault continues to surprise us when he says, "But Raymond told me he didn't think he could write the kind of letter it would take and that he'd thought of asking me to write it for him. Since I didn't say anything, he asked if I'd mind doing it right then and I said no" (32).
Emotionless Meursault strikes again! He not only has no problem with animal abuse, but domestic abuse as well! You would think that he would never feel anything for another human being, right? Wrong! Here is where more irony in the story is brought into play. When Meursault is talking to Raymond about killing the Arabs at the beach later on in Part 1, he says, "'But if he doesn't draw his knife, you can't shoot'" (56). It is almost as though Meursault wants the Arabs to be treated fairly, even though he doesn't know them.
Meursault is extremely hard to read at this point in The Stranger. He has shown that he is able to turn a blind eye to horrors that surround his daily life and affect him directly, but doesn't want to hurt the Arabs if they mean no harm. Is it because they are men? Does he not notice the domestic and animal abuse that he is around on a regular basis because they have become so routine to him? At this point, we really don't know why Meursalt acts the way he does. He continues to surprise us with each page turn.
Not in Kansas Anymore
"On my way out I was even going to shake his hand, but just in time, I remembered that I had killed a man" (Camus 64).
Meursault, in a matter of a few hours, transformed from a numb, indifferent almost apathetic young man into a numb, indifferent mostly apathetic young man and a murderer. Is there nothing this man won't do? Is there nothing that bothers him? Even in prison, he is nonchalant and unchanging. He ended another human being's life and acts as though he simply enjoyed a pleasant day on the beach. The only slight difference in his mannerisms with regards to the killing is his acknowledgement of how his presence affects others. He is keenly aware that people might be inclined to feel uncomfortable around killers, however feels no internal remorse of his own.
Perhaps what Meursault was craving is structure. The activities of his day to day life (besides work, which he has revealed on multiple occasions that he doesn't care about) are hardly ever planned out and never seem to peak his interest. In prison, he encounters a regimented schedule and consistent human contact with people he values and respects. And you know what, more power to him, I say. This man is clearly not in touch with normal human social emotions and if prison is where he feels most comfortable then there he shall thrive.
Meursault, in a matter of a few hours, transformed from a numb, indifferent almost apathetic young man into a numb, indifferent mostly apathetic young man and a murderer. Is there nothing this man won't do? Is there nothing that bothers him? Even in prison, he is nonchalant and unchanging. He ended another human being's life and acts as though he simply enjoyed a pleasant day on the beach. The only slight difference in his mannerisms with regards to the killing is his acknowledgement of how his presence affects others. He is keenly aware that people might be inclined to feel uncomfortable around killers, however feels no internal remorse of his own.
Perhaps what Meursault was craving is structure. The activities of his day to day life (besides work, which he has revealed on multiple occasions that he doesn't care about) are hardly ever planned out and never seem to peak his interest. In prison, he encounters a regimented schedule and consistent human contact with people he values and respects. And you know what, more power to him, I say. This man is clearly not in touch with normal human social emotions and if prison is where he feels most comfortable then there he shall thrive.
Tuesday, October 4, 2016
That Morning Funeral Face
On page 47 Marie comments, "My cigarette tasted bitter. Marie made fun of me because, she said I had on a "Funeral Face" She had put on a white line dress and let her hair down."
At this point in the story I see some irony in Camus' writing and his character Meursault. It was specifically during his mothers funeral Meursault looked the least like a mourner out of anyone there. I find it quite strange that Meursault couldn't mourn at his own mothers funeral but he sure could wake up looking like one according to Marie. He was nothing compared to the people crying beside her coffin at his mothers vigil, but in the morning he was? Many guest misunderstood what Meursaults act of mourning was during his mothers funeral. In fact, he couldn't stand the long hours of being uncomfortable and embarrassed. He was only mourning in the sense that he was wasting the whole day. I still find it rather weird that he was considered to have a "Funeral Face" during the morning but nothing like that during his mothers funeral. This may just be the kind of strange character Meursault is.
At this point in the story I see some irony in Camus' writing and his character Meursault. It was specifically during his mothers funeral Meursault looked the least like a mourner out of anyone there. I find it quite strange that Meursault couldn't mourn at his own mothers funeral but he sure could wake up looking like one according to Marie. He was nothing compared to the people crying beside her coffin at his mothers vigil, but in the morning he was? Many guest misunderstood what Meursaults act of mourning was during his mothers funeral. In fact, he couldn't stand the long hours of being uncomfortable and embarrassed. He was only mourning in the sense that he was wasting the whole day. I still find it rather weird that he was considered to have a "Funeral Face" during the morning but nothing like that during his mothers funeral. This may just be the kind of strange character Meursault is.
Before and After
Up until the end of chapter 6, the plot and tone of The Stranger remains static and monotonous. The story begins to speed up rapidly in the last couple pages, ending with the narrator shooting and killing an Arab man. The last three sentences reveal the narrator's thoughts:
"I knew that I had shattered the harmony of the day, the exceptional silence of a beach where I'd been happy. Then I fired four more times at the motionless body where the bullets lodged without leaving a trace. And it was like knocking four quick times on the door of unhappiness" (Camus, 59).
I got the impression that the narrator seems to think of his crime as a before and after moment, a defining event in the his life. Meursault places an emphasis on how he had been happy before he shot the man, and afterwards he knocked on the 'door of unhappiness,' perhaps giving the reader an insight into the tone of the next part of the book.
The very nature of a before and after moment is that it separates one's life into different sections. Because The Stranger is separated into different parts, this may be another way of the author indicating the significant of the murder.
"I knew that I had shattered the harmony of the day, the exceptional silence of a beach where I'd been happy. Then I fired four more times at the motionless body where the bullets lodged without leaving a trace. And it was like knocking four quick times on the door of unhappiness" (Camus, 59).
I got the impression that the narrator seems to think of his crime as a before and after moment, a defining event in the his life. Meursault places an emphasis on how he had been happy before he shot the man, and afterwards he knocked on the 'door of unhappiness,' perhaps giving the reader an insight into the tone of the next part of the book.
The very nature of a before and after moment is that it separates one's life into different sections. Because The Stranger is separated into different parts, this may be another way of the author indicating the significant of the murder.
What are the Women for Him?
In the first part of The Stranger by Albert Camus, the main character Monsieur Meursault values women in a special way.
First example is his mother's death. He is indifferent to her and it seems that he participate in the funeral because of social expectations. We do not know anything about their relationship. He never showed disguest or anger, he was just indifferent.
Second example is on the page 43. The women that sat with him, because there was not enough room in the cafe(but it does not specify that though), he found her peculiar, machine like. He spend all the dinner time watching her. When she left the cafe he followed her. He was acting like a small child following an animal. He did not recognised his actions as something he should not do.
Third example is his relationship with his girlfriend and the idea of marriage. He is defnatly attracted to her sexsually but when she asks him if he loves her he says no. At the same time he thinks about marrying her. It seems that he refuses to accept his emotions towards her. After their first night together he woke up when she was already gone and "tried to find the salty smell Marie's hair had left on the pillow, and slept until ten." He subconsciously does things that show his love towards her but he would not recognise it himself.
Does he try to shield himself from women? from loving women?
First example is his mother's death. He is indifferent to her and it seems that he participate in the funeral because of social expectations. We do not know anything about their relationship. He never showed disguest or anger, he was just indifferent.
Second example is on the page 43. The women that sat with him, because there was not enough room in the cafe(but it does not specify that though), he found her peculiar, machine like. He spend all the dinner time watching her. When she left the cafe he followed her. He was acting like a small child following an animal. He did not recognised his actions as something he should not do.
Third example is his relationship with his girlfriend and the idea of marriage. He is defnatly attracted to her sexsually but when she asks him if he loves her he says no. At the same time he thinks about marrying her. It seems that he refuses to accept his emotions towards her. After their first night together he woke up when she was already gone and "tried to find the salty smell Marie's hair had left on the pillow, and slept until ten." He subconsciously does things that show his love towards her but he would not recognise it himself.
Does he try to shield himself from women? from loving women?
Translating Camus
To be blunt, I am struggling with Camus' writing style. Not because it is too eloquent or uses old English. In fact, it is the lack of ornateness that stumps me. I'm stuck trying to find some meaning in Camus' bluntness. So that's what I'll try to do here: translate one of the most straightforward pieces of literature.
Mersault is obviously not your average character, especially when juxtaposed with exuberant characters like Raymond and Salamano. He bleeds ambivalence. Take, for example, Marie's marriage proposal. Mersault could not care less whether or not he was married or whether he loved her, for that matter. He tends to live in the present, and knows that whichever decision he makes his life will move one way, but does not value one choice over another.
This is definitely a blunt way of living. So Camus must choose to mirror that bluntness in his writing. After all, Mersault is the narrator. So whose words are they: Camus' or Mersault's? It is that blurred line that I get tangled on. Am I analyzing the character or the diction? Could it be both?
Mersault is a character of purity. I imagine him with the brain of his age but the thought process of an infant. He distances himself from those around him, does not care what happens to him, seems to be floating through life with an indifference that I cannot decide if I despise or envy. I wonder if it is truly best to seize the day like he does. Or whether we must weigh our actions deliberately. Does Camus' writing style give humanity something to emulate or something to reject?
Mersault is obviously not your average character, especially when juxtaposed with exuberant characters like Raymond and Salamano. He bleeds ambivalence. Take, for example, Marie's marriage proposal. Mersault could not care less whether or not he was married or whether he loved her, for that matter. He tends to live in the present, and knows that whichever decision he makes his life will move one way, but does not value one choice over another.
This is definitely a blunt way of living. So Camus must choose to mirror that bluntness in his writing. After all, Mersault is the narrator. So whose words are they: Camus' or Mersault's? It is that blurred line that I get tangled on. Am I analyzing the character or the diction? Could it be both?
Mersault is a character of purity. I imagine him with the brain of his age but the thought process of an infant. He distances himself from those around him, does not care what happens to him, seems to be floating through life with an indifference that I cannot decide if I despise or envy. I wonder if it is truly best to seize the day like he does. Or whether we must weigh our actions deliberately. Does Camus' writing style give humanity something to emulate or something to reject?
The Great Reveal
The novel starts off putting the reader to sleep. The main character seems mundane, predicable, and completely emotionless. He lets other make decisions for him, as Marie asks him if he wants to marry her, and he response falls along the same lines as "why not?" He also testifies for Raymond at the police station, telling the policemen that Raymond's girlfriend did indeed cheat on him. In turn, Raymond is let off the hook.
At the end of Part 1 in the novel, Meursault surprises the reader by shooting a man. This act was completely uncharacteristic of Meursault, and leaves the reader in shock. Again, one thing stays constant throughout the novel, as Meursault seems unfazed by the shooting, and seems completely carefree in the fact that the man's death does not affect him whatsoever. Again, he seems distanced from how his actions and words affect others. The mundane nature of the text paradoxically paired with the shooting at the end of Part 1 excites the reader on what is going down the pike for Meursault, and the other pawns in this emotionless game that he seems to sleepwalk through.
At the end of Part 1 in the novel, Meursault surprises the reader by shooting a man. This act was completely uncharacteristic of Meursault, and leaves the reader in shock. Again, one thing stays constant throughout the novel, as Meursault seems unfazed by the shooting, and seems completely carefree in the fact that the man's death does not affect him whatsoever. Again, he seems distanced from how his actions and words affect others. The mundane nature of the text paradoxically paired with the shooting at the end of Part 1 excites the reader on what is going down the pike for Meursault, and the other pawns in this emotionless game that he seems to sleepwalk through.
Why The Stranger?
Why did Camus choose to name his book The Stranger?
The obvious answer might be that well, all of the characters are very strange. However, it seems to have a double meaning because it was translated from French. The book in French was originally titled "LEtranger", which can also mean "The Foreigner". Meursault resides in the French Algiers where his family has lived for many years, so Camus was not talking about a foreigner in the physical sense. From the first few lines of the book, we can see that Meursault is a bit detached from the rest of his world. He seems to be mentally and emotionally detached from the world around him. When Marie asks Meursault if he loves her, he replies that it doesn't really matter. But for Marie, being in love is a big deal to her. Meursault kills the Arab with seemingly no reason or remorse. When the reader indulges in Meursault's world, he or she feels a bit uncomfortable with the lack of emotion that Meursault exhibits, or at least I felt very uneasy.
The obvious answer might be that well, all of the characters are very strange. However, it seems to have a double meaning because it was translated from French. The book in French was originally titled "LEtranger", which can also mean "The Foreigner". Meursault resides in the French Algiers where his family has lived for many years, so Camus was not talking about a foreigner in the physical sense. From the first few lines of the book, we can see that Meursault is a bit detached from the rest of his world. He seems to be mentally and emotionally detached from the world around him. When Marie asks Meursault if he loves her, he replies that it doesn't really matter. But for Marie, being in love is a big deal to her. Meursault kills the Arab with seemingly no reason or remorse. When the reader indulges in Meursault's world, he or she feels a bit uncomfortable with the lack of emotion that Meursault exhibits, or at least I felt very uneasy.
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