The Myth of Sisyphus and Other Essays

by Albert Camus

  Many, in fact, feign love of life to evade love itself. They try their skill at enjoyment and at “indulging in experiences.” But this is illusory. It requires a rare vocation to be a sensualist. The life of a man is fulfilled without the aid of his mind, with its backward and forward movements, at one and the same time its solitude and its presences. To see these men of Belcourt working, protecting their wives and children, and often without a reproach, I think one can feel a secret shame. To be sure, I have no illusions about it. There is not much love in the lives I am speaking of. I ought to say that not much remains. But at least they have evaded nothing. There are words I have never really understood, such as “sin.” Yet I believe these men have never sinned against life. For if there is a sin against life, it consists perhaps not so much in despairing of life as in hoping for another life and in eluding the implacable grandeur of this life. These men have not cheated. Gods of summer they were at twenty by their enthusiasm for life, and they still are, deprived of all hope. I have seen two of them die. They were full of horror, but silent. It is better thus. From Pandora’s box, where all the ills of humanity swarmed, the Greeks drew out hope after all the others, as the most dreadful of all. I know no more stirring symbol; for, contrary to the general belief, hope equals resignation. And to live is not to resign oneself. This, at least, is the bitter lesson of Algerian summers. But already the season is wavering and summer totters. The first September rains, after such violence and hardening, are like the liberated earth’s first tears, as if for a few days this country tried its hand at tenderness. Yet at the same period the carob trees cover all of Algeria with a scent of love. In the evening or after the rain, the whole earth, its womb moist with a seed redolent of bitter almond, rests after having given herself to the sun all summer long. And again that scent hallows the union of man and earth and awakens in us the only really virile love in this world: ephemeral and noble.

  (1936)

  The Minotaur or The Stop In Oran

  for

  PIERRE GALINDO

  This essay dates from 1939. The reader will have to bear this in mind to judge of the present-day Oran. Impassioned protests from that beautiful city assure me, as a matter of fact, that all the imperfections have been (or will be) remedied. On the other hand, the beauties extolled in this essay have been jealously respected. Happy and realistic city, Oran has no further need of writers: she is awaiting tourists.

  (1953)

  There are no more deserts. There are no more islands. Yet there is a need for them. In order to understand the world, one has to turn away from it on occasion; in order to serve men better, one has to hold them at a distance for a time. But where can one find the solitude necessary to vigor, the deep breath in which the mind collects itself and courage gauges its strength? There remain big cities. Simply, certain conditions are required.

  The cities Europe offers us are too full of the din of the past. A practiced ear can make out the flapping of wings, a fluttering of souls. The giddy whirl of centuries, of revolutions, of fame can be felt there. There one cannot forget that the Occident was forged in a series of uproars. All that does not make for enough silence.

  Paris is often a desert for the heart, but at certain moments from the heights of Pere-Lachaise there blows a revolutionary wind that suddenly fills that desert with flags and fallen glories. So it is with certain Spanish towns, with Florence or with Prague. Salzburg would be peaceful without Mozart. But from time to time there rings out over the Salzach the great proud cry of Don Juan as he plunges toward hell. Vienna seems more silent; she is a youngster among cities. Her stones are no older than three centuries and their youth is ignorant of melancholy. But Vienna stands at a crossroads of history. Around her echoes the clash of empires. Certain evenings when the sky is suffused with blood, the stone horses on the Ring monuments seem to take wing. In that fleeting moment when everything is reminiscent of power and history, can he distinctly heard, under the charge of the Polish squadrons, the crashing fall of the Ottoman Empire. That does not make for enough silence either.

  To be sure, it is just that solitude amid others that men come looking for in European cities. At least, men with a purpose in life. There they can choose their company, take it or leave it. How many minds have been tempered in the trip between their hotel room and the old stones of the Ile Saint Louis! It is true that others have died there of isolation. As for the first, at any rate, there they found their reasons for growing and asserting themselves. They were alone and they weren’t alone. Centuries of history and beauty, the ardent testimony of a thousand lives of the past accompanied them along the Seine and spoke to them both of traditions and of conquests. But their youth urged them to invite such company. There comes a time, there come periods, when it is unwelcome. “It’s between us two!” exclaims Rasti-gnac, facing the vast mustiness of Paris. Two, yes, but that is still too many!

  The desert itself has assumed significance; it has been glutted with poetry. For all the world’s sorrows it is a hallowed spot. But at certain moments the heart wants nothing so much as spots devoid of poetry. Descartes, planning to meditate, chose his desert: the most mercantile city of his era. There he found his solitude and the occasion for perhaps the greatest of our virile poems: “The first [precept] was never to accept anything as true unless I knew it to be obviously so.” It is possible to have less ambition and the same nostalgia. But during the last three centuries Amsterdam has spawned museums. In order to flee poetry and yet recapture the peace of stones, other deserts are needed, other spots without soul and without reprieve. Oran is one of these.

  The Street

  I have often heard the people of Oran complain: “There is no interesting circle.” No, indeed! You wouldn’t want one! A few right-thinking people tried to introduce the customs of another world into this desert, faithful to the principle that it is impossible to advance art or ideas without grouping together.[34] The result is such that the only instructive circles remain those of poker-players, boxing enthusiasts, bowlers, and the local associations. There at least the unsophisticated prevails. After all, there exists a certain nobility that does not lend itself to the lofty. It is sterile by nature. And those who want to find it leave the “circles” and go out into the street.

  The streets of Oran are doomed to dust, pebbles, and heat. If it rains, there is a deluge and a sea of mud. But rain or shine, the shops have the same extravagant and absurd look. All the bad taste of Europe and the Orient has managed to converge in them. One finds, helter-skelter, marble greyhounds, ballerinas with swans, versions of Diana the huntress in green galalith, discus-throwers and reapers, everything that is used for birthday and wedding gifts, the whole race of painful figurines constantly called forth by a commercial and playful genie on our mantelpieces. But such perseverance in bad taste takes on a baroque aspect that makes one forgive all. Here, presented in a casket of dust, are the contents of a show window: frightful plaster models of deformed feet, a group of Rembrandt drawings “sacrificed at 150 francs each,” practical jokes, tricolored wallets, an eighteenth-century pastel, a mechanical donkey made of plush, bottles of Provence water for preserving green olives, and a wretched wooden virgin with an indecent smile. (So that no one can go away ignorant, the “management” has propped at its base a card saying: “Wooden Virgin.”) There can be found in Oran:

  1) Cafes with filter-glazed counters sprinkled with the legs and wings of flies, the proprietor always smiling despite his always empty cafe. A small black coffee used to cost twelve sous and a large one eighteen.

  2) Photographers’ studios where there has been no progress in technique since the invention of sensitized paper. They exhibit a strange fauna impossible to encounter in the streets, from the pseudo-sailor leaning on a console table to the marriageable girl, badly dressed and arms dangling, standing in front of a sylvan background. It is possible to assume that these are not portraits from life: they are creations.

  3) An edifying abundance of funeral establis
hments. It is not that people die more in Oran than elsewhere, but I fancy merely that more is made of it.

  The attractive naivete of this nation of merchants is displayed even in their advertising. I read, in the handbill of an Oran movie theater, the advertisement for a third-rate film. I note the adjectives “sumptuous,” splendid, extraordinary, amazing, staggering, and “tremendous.” At the end the management informs the public of the considerable sacrifices it has undertaken to be able to present this startling “realization.” Nevertheless, the price of tickets will not be increased.

  It would be wrong to assume that this is merely a manifestation of that love of exaggeration characteristic of the south. Rather, the authors of this marvelous handbill are revealing their sense of psychology. It is essential to overcome the indifference and profound apathy felt in this country the moment there is any question of choosing between two shows, two careers, and, often, even two women. People make up their minds only when forced to do so. And advertising is well aware of this. It will assume American proportions, having the same reasons, both here and there, for getting desperate.

  The streets of Oran inform us as to the two essential pleasures of the local youth: getting one’s shoes shined and displaying those same shoes on the boulevard. In order to have a clear idea of the first of these delights, one has to entrust one’s shoes, at ten o’clock on a Sunday morning, to the shoe-shiners in Boulevard Gal-lieni. Perched on high armchairs, one can enjoy that peculiar satisfaction produced, even upon a rank outsider, by the sight of men in love with their job, as the shoe-shiners of Oran obviously are. Everything is worked over in detail. Several brushes, three kinds of cloths, the polish mixed with gasoline. One might think the operation is finished when a perfect shine comes to life under the soft brush. But the same insistent hand covers the glossy surface again with polish, rubs it, dulls it, makes the cream penetrate the heart of the leather, and then brings forth, under the same brush, a double and really definitive gloss sprung from the depths of the leather. The wonders achieved in this way are then exhibited to the connoisseurs. In order to appreciate such pleasures of the boulevard, you ought to see the masquerade of youth taking place every evening on the main arteries of the city. Between the ages of sixteen and twenty the young people of Oran “Society” borrow their models of elegance from American films and put on their fancy dress before going out to dinner. With wavy, oiled hair protruding from under a felt hat slanted over the left ear and peaked over the right eye, the neck encircled by a collar big enough to accommodate the straggling hair, the microscopic knot of the necktie kept in place by a regulation pin, with thigh-length coat and waist close to the hips, with light-colored and noticeably short trousers, with dazzlingly shiny triple-soled shoes, every evening those youths make the sidewalks ring with their metal-tipped soles. In all things they are bent on imitating the bearing, forthrightness, and superiority of Mr. Clark Gable. For this reason the local carpers commonly nickname those youths, by favor of a casual pronunciation, “Clarques.”

  At any rate, the main boulevards of Oran are invaded late in the afternoon by an army of attractive adolescents who go to the greatest trouble to look like a bad lot. Inasmuch as the girls of Oran feel traditionally engaged to these softhearted gangsters, they likewise flaunt the make-up and elegance of popular American actresses. Consequently, the same wits call them “Marlenes.” Thus on the evening boulevards when the sound of birds rises skyward from the palm trees, dozens of Clarques and Marlenes meet, eye and size up one another, happy to be alive and to cut a figure, indulging for an hour in the intoxication of perfect existences. There can then be witnessed, the jealous say, the meetings of the American Commission. But in these words lies the bitterness of those over thirty who have no connection with such diversions. They fail to appreciate those daily congresses of youth and romance. These are, in truth, the parliaments of birds that are met in Hindu literature. But no one on the boulevards of Oran debates the problem of being or worries about the way to perfection. There remains nothing but flappings of wings, plumed struttings, coquettish and victorious graces, a great burst of carefree song that disappears with the night.

  From here I can hear Klestakov: “I shall soon have to be concerned with something lofty.” Alas, he is quite capable of it! If he were urged, he would people this desert within a few years. But for the moment a somewhat secret soul must liberate itself in this facile city with its parade of painted girls unable, nevertheless, to simulate emotion, feigning coyness so badly that the pretense is immediately obvious. Be concerned with something lofty! Just see: Santa-Cruz cut out of the rock, the mountains, the flat sea, the violent wind and the sun, the great cranes of the harbor, the trains, the hangars, the quays, and the huge ramps climbing up the city’s rock, and in the city itself these diversions and this boredom, this hubbub and this solitude. Perhaps, indeed, all this is not sufficiently lofty. But the great value of such overpopulated islands is that in them the heart strips bare. Silence is no longer possible except in noisy cities. From Amsterdam Descartes writes to the aged Guez de Balzac: “I go out walking every day amid the confusion of a great crowd, with as much freedom and tranquillity as you could do on your garden paths.” [35]

  The Desert in Oran

  Obliged to live facing a wonderful landscape, the people of Oran have overcome this fearful ordeal by covering their city with very ugly constructions. One expects to find a city open to the sea, washed and refreshed by the evening breeze. And aside from the Spanish quarter,[36] one finds a walled town that turns its back to the sea, that has been built up by turning back on itself like a snail. Oran is a great circular yellow wall covered over with a leaden sky. In the beginning you wander in the labyrinth, seeking the sea like the sign of Ariadne. But you turn round and round in pale and oppressive streets, and eventually the Minotaur devours the people of Oran: the Minotaur is boredom. For some time the citizens of Oran have given up wandering. They have accepted being eaten.

  It is impossible to know what stone is without coming to Oran. In that dustiest of cities, the pebble is king. It is so much appreciated that shopkeepers exhibit it in their show windows to hold papers in place or even for mere display. Piles of them are set up along the streets, doubtless for the eyes’ delight, since a year later the pile is still there. Whatever elsewhere derives its poetry from the vegetable kingdom here takes on a stone face. The hundred or so trees that can be found in the business section have been carefully covered with dust. They are petrified plants whose branches give off an acrid, dusty smell. In Algiers the Arab cemeteries have a well-known mellowness. In Oran, above the Ras-el-Ain ravine, facing the sea this time, flat against the blue sky, are fields of chalky, friable pebbles in which the sun blinds with its fires. Amid these bare bones of the earth a purple geranium, from time to time, contributes its life and fresh blood to the landscape. The whole city has solidified in a stony matrix. Seen from Les Planteurs, the depth of the cliffs surrounding it is so great that the landscape becomes unreal, so mineral it is. Man is outlawed from it. So much heavy beauty seems to come from another world.

  If the desert can be defined as a soulless place where the sky alone is king, then Oran is awaiting her prophets. All around and above the city the brutal nature of Africa is indeed clad in her burning charms. She bursts the unfortunate stage setting with which she is covered; she shrieks forth between all the houses and over all the roofs. If one climbs one of the roads up the mountain of Santa-Cruz, the first thing to be visible is the scattered colored cubes of Oran. But a little higher and already the jagged cliffs that surround the plateau crouch in the sea like red beasts. Still a little higher and a great vortex of sun and wind sweeps over, airs out, and obscures the untidy city scattered in disorder all over a rocky landscape. The opposition here is between magnificent human anarchy and the permanence of an unchanging sea. This is enough to make a staggering scent of life rise toward the mountainside road.

  There is something implacable about the desert. The mineral
sky of Oran, her streets and trees in their coating of dust—everything contributes to creating this dense and impassible universe in which the heart and mind are never distracted from themselves, nor from their sole object, which is man. I am speaking here of difficult places of retreat. Books are written on Florence or Athens. Those cities have formed so many European minds that they must have a meaning. They have the means of moving to tears or of uplifting. They quiet a certain spiritual hunger whose bread is memory. But can one be moved by a city where nothing attracts the mind, where the very ugliness is anonymous, where the past is reduced to nothing? Emptiness, boredom, an indifferent sky, what are the charms of such places? Doubtless solitude and, perhaps, the human creature.

  For a certain race of men, wherever the human creature is beautiful is a bitter native land. Oran is one of its thousand capitals.