Within the first decade of a brand new century, this choice of bilingual essays examines Camus's carrying on with recognition for a brand new new release of readers. In an important respects, the realm Camus knew has replaced past all popularity: decolonization, the autumn of the Iron Curtain, a brand new period of globalization and the increase of recent different types of terrorism have all provoked a reconsideration of Camus's writings. If the Absurd as soon as struck a specific chord, Meursault is as most probably now to be noticeable as a colonial determine who expresses the alienation of the settler from the land of his delivery. but this expanding orthodoxy should also take account of the explanations why a brand new group of Algerian readers have embraced Camus. both, as soon as remoted due to his anti-Communist stance, Camus has been taken up through disaffected individuals of the Left, confident that new varieties of totalitarianism are overseas on this planet. This quantity, which levels from interpretations of Camus's literary works, his journalism and his political writings, should be of curiosity to all these trying to reconsider Camus's paintings within the gentle of moral and political matters which are of continuous relevance this present day.

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This ignores both what Camus, Cixous, Roblès and others have confirmed, namely that Muslim and European did not share private spaces, and what historians have uncovered, namely the racism of the “petit-Blanc”. Camus, Memory and the Colonial Chronotope 57 Autobiographical memory clearly has a central role in Le Premier Homme, but alone it remained unable to satisfy Camus’s need to salvage an “imagined community”, to project a counter-narrative giving them the ethical, if not the historical, right to remain.

We must be aware of Camus’s well-known involvement, and of the much more discrete interventions we now know about, together with his justifiable anger at those who took sides (and decided Algeria’s future) without any personal risk whatsoever. With this in mind, I would like to limit my critical response in this paper to an investigation of a number of key elements which have proved to be tools of both liberation and repression, in Europe and beyond, over the last half century. 1 I see it primarily as a political text seeking to intervene at a critical moment in France’s decolonization, a search for other ways of reassessing the legacy of French colonialism at the moment when, in Camus’s opinion, a community, unjustly scapegoated, was in danger of falling victim to political expediency (better known as “the forces of History”).

While the “deux ou trois images” that Cormery falls back on could be seen as little more than a way of evoking the fact that, as Pierre Nora reminds us, “memory takes place in the concrete, in spaces, gestures, images and objects”,10 they also direct us towards something else, something less conscious than the conventional demands regarding memory or history. Hence the recurrence of references to the father eliding into what is other than memory; on the plane back to Algeria: (L)e bruit l’abrutissait, le plongeait dans une sorte de torpeur mauvaise où il essayait en vain de revoir, d’imaginer son père qui disparaissait derrière ce pays immense et hostile, fondait dans l’histoire anonyme de ce village et de cette plaine.

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