Word: camus
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...fisted drinker (even though James Crumley's Milo Milodragovitch goes for peppermint schnapps) and sometimes drops his guard long enough to reveal a flash of erudition (Marlowe has atrocious taste in socks but can quote Browning). Touches of class cater to the tough-guy fantasies of the literati. Albert Camus, whose spare existential novels were influenced by U.S. detective fiction, looked like Humphrey Bogart portraying Sam Spade. Hemingway followed in the footsteps of Mark Twain and Ring Lardner. But it is hard to read such terse narratives as The Killers and To Have and Have Not without imagining gumshoe tracks...
...begin and end with this cartoon of frothing male vituperation does nothing to reveal how a Strindberg play can still electrify an audience in 1985, or to explain why writers as different as Kafka and Camus, Thomas Mann and Jean-Paul Sartre have read Strindberg with admiration bordering on reverence...
...seemed that Montaigne threw his mantel across his shoulders and left the room, followed by Pascal delicately lifting the skirt of his vestments; Hazlitt said he had a previous engagement at the five courts, Lamb muttered something about his sister not being well. Orwell stubbed out his cigarette. Camus buckled the belt of his trenchcoat, and they were all gone...
Entrants in this dense and unprecedented volume range from the heroic to the villainous, from Albert Camus to Lee Harvey Oswald. Mallon welcomes them all to his vast storehouse. Some neighbors provide deep ironic contrasts: Anne Frank tells her diary, "I twist my heart . . . so that the bad is on the outside and the good is on the inside and keep on trying to find a way of becoming what I would like so to be." Four pages later a Nazi architect bitterly considers himself in the third person: "Hitler . . . would have been keenly delighted by the role Albert Speer...
...literary critic George Neveaux wrote, "The entire theatre of an era came out of the womb of that play, Six Characters." Pirandello's revolution in form and content profoundly influenced the works of Sartre, Anouilh, Genet, Camus, Ionesco, Beckett, and many other playwrights. Pirandello's dramaturgy contributed significantly to this new form of theatre--his acceptance of the stage for what it was, his knowledge that it did not need to be a true-to-life copy of the real thing. He saw the stage as a place of magic and illusion...