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Annotated Bibliography for Albert Camus’ The Stranger

McGregor, Rob Roy. "Camus's "The Silent Men" and "The Guest": Depictions of Absurd
Awareness." Studies in Short Fiction. (Vol. 34). .3 (Summer 1997): p307. Literature
Resource Center. Gale. Malden High School. 8 Dec. 2010
<http://go.galegroup.com/ps/start.do?p=LitRC&u=mlin_b_maldenhs>.

Summary:

Basically what this article is about is that protagonist of the story Yvars and how he goes through
different struggles in his life, how he goes about his every day routines is just a pain for him
basically he finds no excitement in anything and he’s upset about the fact that he’s aging and soon
dead. One example of a struggle is when he blames Lassalle for the death of his own daughter
because of his failure of being the way he is.

Quotes:

Despite the gratuitous suffering and possible death of Lassalle's daughter and Yvars's empathy for
the father, and despite the rapid accumulation of evidence of human powerlessness when confronted
by one's superiors, by institutions, aging, suffering and death, Yvars's feeling of "malheur"
(brooding "unhappiness") never crystallizes into a conceptual awareness ("Muets" 1607), and
evasion never advances beyond the realizable and daily wish to be home with wife and son (1606),
the existential ontological "monde familier" ("familiar world") of Le Mythe de Sisyphe (101). At
the end of "The Silent Men," Yvars is intent upon blaming Lassalle for some vague reason: "Ah,
c'est de sa faute!" ("Ah, it's his fault!" [1608]). Is the blame for the general collapse of interpersonal
relationships? For his own daughter's illness, a kind of retribution for his treatment of the workers?
For establishing a personal barrier that prevented Yvars from expressing concern for Lassalle's
daughter? Or is the placing of blame a self-serving exculpation for his failure to call out in
sympathy to Lassalle? For the purpose of the story, the reason is simultaneously immaterial and
functional. When Yvars places blame on someone or something for any situation or condition
related to human existence, he shows that he remains within the traditional escapist mentality of his
Western culture, an existential mentality inclusive of all theistic and atheistic philosophies, which
are much disparaged by Camus in Le Mythe de Sisyphe (122). By placing blame, he derails the
conclusion to be drawn from evaluating his (human) condition of unhappiness, helplessness,
interpersonal isolation, aging, and eventual death, all of which are consciously and progressively in
evidence in his experiences of the day (paragraph 5).

Purpose:

The purpose of this article is that the reason is of absurdity is not to put the blame on other for your
failures but to make a difference and own up to it.
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Smith, Christopher. "The Guest: Overview." Reference Guide to Short Fiction. Ed. Noelle Watson.
Detroit: St. James Press, Literature Resource Center. Gale. Malden High School. 8 Dec. 2010
<http://go.galegroup.com/ps/start.do?p=LitRC&u=mlin_b_maldenhs>.

Summery:

This is basically about Camus’s life and where he came from and his different achievements in life.

Quote:

The story is set in Algeria, the country in which Camus was born, and the time is the era of the
postwar, anti-colonial protests which demanded so much of the attention not only of the large
numbers of French settlers in North Africa but also of the general public in France. More generally,
"The Guest" explores the theme of the loneliness of individuals forced to make their own moral
choices without reference to transcendental principles or convictions; the consequence is an
anguished conscience, and the sense of isolation is increased when it turns out that decisions and
actions are misunderstood (paragraph 1).

purpose:
The purpose is just to know an understanding of were he came from how he grew up and in what
era it was so the reader could have a better understanding of his books.

Schwarz, Alfred. "'Condemned to Be Free': The Will in Action and Paralysis." From Büchner to
Beckett: Dramatic Theory and the Modes of Tragic Drama. Ohio University Press, 1978.
261-301. Rpt. in Contemporary Literary Criticism. Ed. Sharon R. Gunton. Vol. 18. Detroit:
Gale Research, 1981. Literature Resource Center. Web. 17 Dec.
2010.http://go.galegroup.com/ps/i.do?&id=GALE
%7CH1100000758&v=2.1&u=mlin_b_maldenhs&it=r&p=LitRC&sw=w

Summery:

This is basically about the explanation of Camus and Sartre of the prospective of life.

Quotes:

Neither for Sartre nor Camus is unbelief the cause of despair ...; it is rather the starting point toward
the only meaningful response to the wretched condition of man and the denial of human values—
namely, revolt.... [This is the premise of] Sartre's dramatic explorations of the estate of man.
“Existentialism,” says Sartre, “is nothing else but an attempt to draw the full conclusions from a
consistently atheistic position.” ... Both writers in their contexts mean to be optimistic in that they
reject passive suffering and resignation to a higher will. But at the same time, giving to man the
power to scorn, to appropriate, and even to shape his fate, they set the stage for their tragic parables
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adapted from myth, history, and politics. In these, man goes under because he deceives himself as to
the nature of an alien universe in which he counts for nothing. His alternative is to create an
intelligible world centered in himself through a free act of commitment, assuming the burden of
guilt implicit in any choice or action (paragraph 1).

Purpose:

The purpose is that it relates back to The Stranger, and how it shows different views and
prospectives on different lives and how they go about it in different ways and how different
situations can change a life in an instant.

"Overview: 'Daughter of Invention'." Short Stories for Students. Ed. Sara Constantakis. Vol. 31.
Detroit: Gale, 2010. Literature Resource Center. Web. 17 Dec. 2010.

Summery:
This is basically about a young girl named Yoyo, who wants to give a speech in school and
struggles in doing so but her father forbids it because of his past in the political sense in
Dominican Republic.

Quotes:

"Daughter of Invention" is a chapter in Julia Alvarez's first book-length work of fiction, How the
García Girls Lost Their Accents, published in 1991 by Algonquin Books of Chapel Hill. The
book contains fifteen interrelated short stories about the Garcías, a Dominican family of four
sisters and their parents. The story takes place in about 1961, soon after the García family
has immigrated to the United States from the Dominican Republic to escape the cruel and
repressive dictatorship of Rafael Trujillo. They live in an apartment in New York City and
must adjust to the new and different lifestyle they encounter in the United States. Although
the book deals specifically with the challenges a Dominican family faces assimilating into
American culture, it also addresses the universal experience of all immigrants who must find
their way in a new culture.
"Daughter of Invention" focuses on Laura García (Mami), Carlos García (Papi), and Yoyo, one of
the four García daughters. Yoyo is called upon to write and deliver a speech at school to
honor her teachers. After struggling to figure out what to say, Yoyo is inspired by the words
of Walt Whitman. Laura is beside herself with pride when she hears the speech, but Papi is
horrified. In a fit of temper, Papi forbids an incredulous Yoyo from giving her speech. Yoyo
and the reader soon understand that Papi's anger is not really brought on by Yoyo's speech,
but rather by his fear that challenging authority was dangerous, as it had been in his native
country (first intro paragraph).

Purpose:
The purpose of this is basically the struggle people go through when they immigrate to a new
country. It also relates back to Camus’ the Stranger, not that Mearsault immigrated but how his
surrounding changes because of the time period he was in and how it influenced a lot around him.
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KROB, MELANIE GORDON. "Paris through enemy eyes: the Wehrmacht in Paris 1940-1944."
Journal of European Studies 31.1 (2001): 3. Literature Resource Center. Web. 20 Dec.
2010.http://go.galegroup.com/ps/i.do?&id=GALE
%7CA77674906&v=2.1&u=mlin_b_maldenhs&it=r&p=LitRC&sw=w

Summery :

This is basically about world war 2 and how France was in those dark times. Also describing how
its surroundings and the military.

Quotes:

On 14 June 1940, the Wehrmacht marched into an evacuated Paris, ushering in four of the darkest
years that the city has ever known. While for the French the Occupation still evokes memories of
food shortages, curfews and other deprivations, many German soldiers remembered it as a brief and
enchanting intermission from the horrors of the Russian front. [1] For Adolf Hitler, Paris was a
constant point of comparison and an ever-present reality that his dream Berlin would eventually
have to surpass. In a speech at the General Headquarters in Berlin, Hitler explained to his cabinet:
'Ich hatte die ganzen Jahre schon alle meine Manner nach Paris geschickt, damit sie nicht staunen,
wenn wir an den Neubau von Berlin herangehen. Berlin ist darin jetzt miserabel, Berlin wird aber
einmal schoner sein als Paris.' [2] Despite Hitler's grandiose plans for the capital of his thousand-
year Reich, he would not be able to diminish the strong impressions that the 'Stadt von 2000 Jahren'
left on his men. [3] The German military and occupying forces in France in 1940-4 saw Paris as
much more than a conquered capital; Paris was an experience, one which touched every German
personally and transformed many politically and culturally as well. As reported by Major Heinz
Lorenz -- a member of the occupying forces of Greater-Paris and later coeditor of the bimonthly
Deutscher Wegleiter fur Paris magazine -- many German soldiers stationed on the Eastern front
wrote to him, not for photographs or news from Germany, but rather for subscriptions to Deutscher
Wegleiter because it offered a daily listing of all tours and cultural happenings in the distant city of
lights. [4] Even if these German soldiers, suffering the frigid temperatures of the Russian winter,
could not experience the magic of Paris firsthand, thanks to the magazine's stories, photographs and
event listings, they could, at least, imagine they were there. If Hitler had been successful, Berlin
might indeed have become the capital of a thousand-year German Empire. For the German s oldiers
in Russia and throughout Europe, however, this future Germany remained nothing more than an
intangible dream, while Paris continued to provide an almost mystical link between Europe's past,
present and future that neither politics, ideology nor their own conquest of the city could erase (first
paragraph).
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Purpose:

The purpose is basically how this war influenced its surrounding and how it changed people for the
better or worse. Its also the time period when Camus’ The Stranger was published witch is very
important because it can describe how Camus might have felt through the book because of the war.

Graebner, Seth. "The bird's-eye view: looking at the city in Paris and Algiers." Nineteenth-Century
French Studies 36.3-4 (2008): 221+. Literature Resource Center. Web. 20 Dec.
2010.http://go.galegroup.com/ps/i.do?&id=GALE
%7CA179492660&v=2.1&u=mlin_b_maldenhs&it=r&p=LitRC&sw=w

Summery:
This is basically about the way Algeria was during the time period of 1930’s - 1940’s.

Quotes:

In the forty years following 1830, hundreds of travelogues, city descriptions, and histories of
Algeria appeared, forming a literary topography for the new colony. This literature, part of
the exoticist tradition in North Africa, did not develop in isolation: descriptions of Algiers
took shape concurrently and symbiotically with descriptions of Paris published in even
greater numbers. Conversely, perspectives and polemics from the metropolitan center were
often informed by writing about the city on the colonial periphery. The French learned to
describe cities through modes of observation elaborated in both Paris and Algiers. Moving
to the supposed antipodes of the modern, to the anti-Paris constructed in the French
imagination of Algiers, questions the received history of modernite. It suggests other loci for
the tropes and techniques associated with it, and opens a new way to understand the role of
the colony in the development of nineteenth-century French culture.

Purpose:

The purpose is how the surroudning can change a person and how different things can change the
inviroment and people around it aslo. for example in Camus’ The Strander because of a lot
of the surrounding it changed a lot of poeple sometimes to the better and worse.

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