Word: camus
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Dates: during 1960-1969
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RIGHT YOU ARE. Luigi Pirandello is the philosopher king of 20th century playwrights, an existentialist before Sartre and Camus, an absurdist before Beckett and lonesco. Though written in 1918, this intellectual whodunit has scarcely a grey line in its script, and the APA troupe has faithfully obeyed the playwright's commandment: "To convert the intellect into passion...
James Joyce and Richard Condon, John O'Hara and James Michener, Philip Roth, Budd Schulberg, Saul Bellow, Robert Penn Warren. In 1960, when Cerf acquired the house of Knopf, the names of Thomas Mann, Albert Camus, Jean-Paul Sartre, John Hersey and John Updike joined the parade. Cerf's biggest book of the year is the 2,059-page Random House Dictionary of the English Language, which took a decade and $3,000,000 to put together. Amazingly, for a reference book, it has been on the bestseller list for six weeks, and the first printing...
RIGHT YOU ARE. Luigi Pirandello is the philosopher king of 20th century playwrights, an existentialist before Sartre and Camus, an absurdist before Beckett and lonesco. This 48-year-old intellectual whodunnit has scarcely a grey line in its script, and the APA troupe has obeyed the playwright's commandment: "to convert the intellect into passion...
...There is only one truly serious philosophical problem," wrote Albert Camus, "and that is suicide." In other words, what is it that makes life worth living? Religion's answer to that question today is still powerful, but far more muted than it used to be. Most men take their answers from the self-evident pleasure of being alive and, even in despair, from stubborn hope and a dimly realized sense of duty to the miracle of life. Camus' own answer was that revolt against the apparent meaninglessness of existence is noble, and that to revolt is to live...
...intimately concerned with the existence problem. His plays are drenched in fatality, and to call fate "economic necessity" is to change the name without changing the game. While they do not all belong to the theater of the absurd, these playwrights possess that initial recognition of absurdity that, Camus argues, comes to one in the midst of deadening routines. In the opening scene of John Osborne's Look Back in Anger, Jimmy Porter hurls a newspaper to the floor and says: "Why do I do this every Sunday? Even the book reviews seem to be the same as last...