The Stranger By Albert Camus Critical Essay

The Stranger By Albert Camus Critical Essay-43
The reader expects insight into the narrative character’s motives, his reasoning, or if nothing else, his perspective of the event in hindsight; however, Meursault refuses to offer that insight.His unreliable narrative remains silent regarding his motivation, and his character is unchanged.I washed my hands and then I went out onto the balcony” (21), one wonders if the author is outlining this basic material to get to the good stuff about to take place, or whether these mundane details are the story in itself.

The reader expects insight into the narrative character’s motives, his reasoning, or if nothing else, his perspective of the event in hindsight; however, Meursault refuses to offer that insight.His unreliable narrative remains silent regarding his motivation, and his character is unchanged.I washed my hands and then I went out onto the balcony” (21), one wonders if the author is outlining this basic material to get to the good stuff about to take place, or whether these mundane details are the story in itself.

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When he states, “When I had to give up my studies, I learned very quickly that none of it really mattered” (41), a measure of insight can be gained from the moment.

It might explain why Meursault is such a disconnected character; he had to give up his dreams.

As a result of that moment, perhaps he convinced himself nothing mattered.

Perhaps that is why he puts forth the idea that, “People never change their lives.

As the story progresses, the narrative character, Meursault, portrays no backbone, no sense of moral values, and no perspective on much of anything. Readers are not necessarily looking for Prince Charming or Superman, but simply someone relatable and likeable – someone with whom they can connect.

Federalist Essay 10 - The Stranger By Albert Camus Critical Essay

Author Nancy Lamb explains one reason that readers want to read about realistic characters when she states, “Almost nothing yanks readers out of a story faster than when they feel a character’s actions are inauthentic.

Finally, three pages from the end, his detached façade cracks, and raging emotions pours out as Meursault narrates, “I started yelling at the top of my lungs, and I insulted him and told him not to waste his prayers on me. I was pouring out on him everything that was in my heart, cries of anger and cries of joy” (120).

But at the end of the emotional outburst, the narrative character remains unchanged, bloody but unbowed.

If there was no character, there would be no story.

Reading is for all these reasons at some time or another, but more than that, .

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