#camus — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #camus, aggregated by home.social.
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https://www.europesays.com/be-fr/102122/ Laura Beyne et Daniel Camus se sont mariés ce samedi ! (photos) #« Mariés #BE #BEFr #Belgique #Belgium #Beyne #Camus #Celebrities #Celebrity #Daniel #Divertissement #Entertainment #Laura #people #Photos #samedi
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https://www.europesays.com/ch-fr/124645/ Laura Beyne et Daniel Camus se sont mariés ce samedi ! (photos) #« Mariés #Beyne #Camus #Celebrities #Celebrity #Daniel #Divertissement #Entertainment #Laura #People #Photos #samedi #Suisse
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Sup girl, wanna smoke a bowl and talk about how the struggle itself towards the heights is enough to fill a man's heart?
#philosophy #philosophymemes #philosophyhumor #Camus #TheMythOfSisyphus
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Quite fond of Camus, heard good things about Ozon's new adaptation of L'etranger.
Crisp black & white capturing that languid, sun-bleached North African location, Voisin essaying the detachment of Meursault, gorgeous cinematography.
Adding The Cure on final credits was a nice touch. Nice to see veteran Dennis Levant cameoing too.
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The Silence Camus Refused to Domesticate: Hazel Barnes, The Myth of Sisyphus, and the Cost of a Sympathetic Misreading
Hazel Barnes was one of the most careful American readers of French existentialism in the twentieth century. She translated Sartre’s Being and Nothingness in 1956, a labor that shaped how generations of American students encountered Continental thought. When she turns to Camus, though, something interesting happens on the page. Her summary of The Myth of Sisyphus is partly accurate and partly an act of quiet translation in the other direction, pulling Camus toward a Sartrean humanism that Camus himself spent the last decade of his life resisting.
Here is the passage in question:Albert Camus, in his book, The Myth of Sisyphus, puts the question in humanistic terms. I do not know, he says, whether or not this world has a meaning which transcends it. But this I am fully aware of, that if there is a higher meaning, it is not one which it is possible for me to know. And if the meaning is not a human meaning, then how can it be a meaning at all for me? In this case, the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death. What one encounters, if one assumes that there is no higher meaning, is what existentialist writers have called the absurd. Absurdity is a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving. It is the fact that when man appeals to the universe for meaning, for form, for unity, there is no answer.
This passage comes from Self-Encounter: A Study in Existentialism, a ten-part television series Barnes wrote and hosted for National Educational Television, the predecessor to PBS, broadcast in 1961 and 1962. KRMA in Denver produced it, and the lines above are from the third episode, “To Leap Or Not To Leap,” which takes Camus as its focus. The shadowy figures seated behind Barnes on the set are theater and dance students from the University of Colorado, staged as atmospheric performers by experimental filmmaker Stan Brakhage, who shot three of the ten episodes. The original broadcast tapes were long thought destroyed, but one set had been preserved at the Library of Congress, which is how the episodes survive today.
The context matters, and it cuts against Barnes more than it excuses her. A ten-part series for a general public audience could reasonably be expected to simplify, and one might defend the Sartrean inflection as a teacher’s compression for lay viewers. That defense fails on a single fact. Barnes is the philosopher who coined the term “humanistic existentialism” as a shared label for Sartre, Beauvoir, and Camus, and she used it in the title of her 1959 book The Literature of Possibility: A Study in Humanistic Existentialism, three years before the broadcast. Her opening sentence in the passage above, that Camus “puts the question in humanistic terms,” is her signature classification in action. She is arguing, across her career, that these three thinkers belong inside a single humanist project. The television audience gave her the opportunity to broadcast that argument to the country. What sounds like compression for a general viewer is the position itself, delivered in its most public form.
Notice the rhetorical method before the content. On camera, Barnes speaks the middle portion of this passage in Camus’ voice. “I do not know, he says” establishes the ventriloquism, and then the attribution drops away, so that “if the meaning is not a human meaning, then how can it be a meaning at all for me?” appears to come from Camus’ own mouth. The technique is sophisticated. When Barnes is accurate, the ventriloquism functions as faithful translation. When she slides, the slide is harder to catch because the viewer hears it as Camus speaking rather than as Barnes interpreting. The frame sentence sets the agenda before the impersonation begins. Camus, Barnes tells us, “puts the question in humanistic terms.” Before a single quotation has been offered, the audience has been told what kind of thinker Camus is. The rest of the passage will make good on the promise of the label.
Start with what Barnes gets right. She captures Camus’ epistemic posture with admirable precision when she has him say that he does not know whether the world has a meaning that transcends it, and that if such meaning exists, it lies outside any human capacity to verify. This is accurate to Camus. He is agnostic about the transcendent, and his agnosticism is strategic. The absurd requires two parties, the human needing meaning and the universe withholding it. A flat declaration that the universe is empty would leave nothing to confront, only a report to file. Barnes grasps that Camus preserves the tension, and she names that tension well.
She is also accurate on the closing point, that “when man appeals to the universe for meaning, for form, for unity, there is no answer.” This is the silence at the heart of The Myth of Sisyphus. The universe does not respond in the language we bring to it. It gives back nothing that matches our need. Barnes hears the silence and records it faithfully.
Between these two accurate observations, her summary performs three operations that move Camus in a direction he did not move himself. The first operation lives in a single clause: “And if the meaning is not a human meaning, then how can it be a meaning at all for me?” That clause belongs to Barnes rather than to Camus. Camus’ actual position is narrower. He writes that we cannot know the transcendent, and what we cannot know cannot guide us. Barnes’ clause converts epistemic humility into metaphysical dismissal. The Camus position preserves the unknown as unknown, and the absurd lives in that suspension. Barnes renders the unknown as functionally nonexistent, which collapses the gap she will need in her next sentence. The slide is small enough that a viewer may not catch it, especially when it arrives in what appears to be Camus’ own voice.
The second operation is the framing of the alternatives: “the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death.” Camus does open his book by naming suicide as the one serious philosophical question, so Barnes’ framing matches the opening of the text. Her account falters at the book’s destination. The entire argument of The Myth of Sisyphus is that suicide and religious faith fall into the same category of error. Both escape the absurd. Both resolve the tension by removing one of its two terms. Religious faith abolishes the silence of the universe by filling it with God. Suicide abolishes the human need by ending the one who needs. Camus calls them both forms of philosophical suicide, and he refuses each one. His third path, which Barnes’ summary does not name, is revolt. Live with the absurd, awake and unreconciled, refusing the consolation of transcendence and refusing the erasure of the self. That third path is the point of the book. A viewer who finishes Barnes’ summary without knowing the third path exists has been given the setup and denied the argument.
The third operation is the most philosophically consequential. Barnes defines absurdity as “a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving.” This is where the Sartrean translation becomes audible. For Camus, the absurd lies in the distance between what we need and what the universe will confirm. The distance between aspiration and capacity is a different problem, a practical and psychological one the book does not address. Barnes has moved the absurd from cosmology to psychology. In her frame, absurdity concerns human striving and human limitation, a problem that could in principle be addressed through effort, solidarity, political action, the building of meaning among ourselves. That is a coherent philosophical position and a recognizably Sartrean one. Camus wrote something else. For Camus, the absurd is a permanent condition that arises the moment a conscious creature asks the universe to account for itself and hears nothing back. No achievement closes that gap. The gap sits between us and the silence itself, a position no striving can reach.
Notice also the qualifier “if one assumes that there is no higher meaning.” Barnes inserts this phrase almost in passing, but it reverses Camus’ posture. Camus makes no such assumption. He refuses to assume in either direction. The absurd is not the consequence of an atheist verdict, it is the condition that holds when a person cannot reach a verdict and still needs meaning. Barnes’ phrasing gives the viewer permission to think of absurdity as the mood of a person who has already decided the universe is empty. Camus’ absurd belongs to someone still standing at the edge of the question with no verdict available.
Why does this reading matter beyond its scholarly accuracy? The Camus who emerges from Barnes’ summary is a humanist in waiting, a thinker who has arrived at the absurd and needs only to turn the corner into a Sartrean ethics of engagement to be complete. Barnes would have welcomed such a Camus. Sartre would have welcomed such a Camus. Her term of art, “humanistic existentialism,” assumes exactly that Camus. The historical Camus broke with Sartre publicly in 1952 over The Rebel, and the break turned on exactly this kind of absorption. Sartre wanted to fold the absurd into a program of historical action, into a humanism that used absurdity as a starting gun for political commitment. Camus resisted the folding. He thought the absurd was harder than Sartre’s humanism allowed. He thought it stayed alien even after one had decided to live inside it. The revolt he described in Sisyphus and extended in The Rebel was never a political program dressed in metaphysical language. It was a permanent posture of the self against a universe that will never confirm the self’s demands.
Barnes’ softening is sympathetic, and she was a serious thinker, which makes the softening instructive rather than dismissible. A careless reader would miss Camus entirely. A careful reader trained in Sartre hears Camus and translates him unconsciously into the closest available dialect. The cost of that translation is the loss of what was specifically Camusian about Camus. His refusal of consolation included the consolation of humanism. He would not let the audience off the hook by promising that solidarity or achievement could close the gap that opened when the universe refused to answer. The gap stays open. One lives in it. That is the whole ethic of the book.
A fair critic could press back here and argue that Camus’ own position is less stable than the argument above allows. The revolt Camus describes does start to look humanist when examined hard. Sisyphus pushing the rock, imagined happy at his labor, resembles the Sartrean project of meaning-making through commitment. Barnes might answer that she has simply read Camus as he was becoming, not as he managed to freeze himself in 1942. The defense against this critique has to rest on what Camus explicitly resisted. The Rebel, published nine years after Sisyphus, draws a sharp line between rebellion and the humanist absorption Sartre was constructing. Camus had every opportunity to collapse his position into Sartre’s and he refused. The refusal is the evidence. Whatever instabilities the revolt contains, Camus himself insisted that revolt was not the same project Sartre was running. Barnes’ reading, sophisticated as it is, reads Camus as the Camus he might have been had he taken one more step, rather than the Camus whose whole authorship was a refusal of that step.
The broader stakes are worth naming. Contemporary humanism, in its secular and religious shapes, wants to close the gap with meaning built from below, communities and causes and identities that furnish the significance the universe refused to provide. Those projects can be valuable on their own terms. Those projects describe something other than Camus’ position. Camus described a life lived awake inside the silence, with meaning made locally and honestly and without any pretense that the silence had been filled. The first approach is effective because it motivates action, builds solidarity, makes the world workable. It is not effective because it tends toward bad faith the moment it claims the absurd has been resolved. The second approach is effective because it refuses bad faith and keeps the confrontation visible. It is not effective in the sense of making anyone comfortable, and it was never meant to.
Barnes taught American readers how to hear Sartre, and she taught American television viewers how to hear existentialism itself. She did not hear Camus the same way, and reading her carefully shows where the frame she carried pulled the text toward her. The Camus she describes remains worth reading. The Camus she does not quite describe, the one who refused the third consolation after refusing the first two, is the one still worth arguing with. The silence he insisted on is still there, and the question of how to live inside it without domesticating it is the same question he left us. Anyone who tells you the gap has been closed is selling something. Camus’ honesty lay in refusing to sell it.
#beingAndNothingness #camus #epistemicHumility #faith #framing #god #hazelBarnes #humanism #meaning #metaphysicalDismissal #myth #philosophy #sarte #Sartrean #sisyphus #suicide #unity #ventriloquism -
The Silence Camus Refused to Domesticate: Hazel Barnes, The Myth of Sisyphus, and the Cost of a Sympathetic Misreading
Hazel Barnes was one of the most careful American readers of French existentialism in the twentieth century. She translated Sartre’s Being and Nothingness in 1956, a labor that shaped how generations of American students encountered Continental thought. When she turns to Camus, though, something interesting happens on the page. Her summary of The Myth of Sisyphus is partly accurate and partly an act of quiet translation in the other direction, pulling Camus toward a Sartrean humanism that Camus himself spent the last decade of his life resisting.
Here is the passage in question:Albert Camus, in his book, The Myth of Sisyphus, puts the question in humanistic terms. I do not know, he says, whether or not this world has a meaning which transcends it. But this I am fully aware of, that if there is a higher meaning, it is not one which it is possible for me to know. And if the meaning is not a human meaning, then how can it be a meaning at all for me? In this case, the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death. What one encounters, if one assumes that there is no higher meaning, is what existentialist writers have called the absurd. Absurdity is a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving. It is the fact that when man appeals to the universe for meaning, for form, for unity, there is no answer.
This passage comes from Self-Encounter: A Study in Existentialism, a ten-part television series Barnes wrote and hosted for National Educational Television, the predecessor to PBS, broadcast in 1961 and 1962. KRMA in Denver produced it, and the lines above are from the third episode, “To Leap Or Not To Leap,” which takes Camus as its focus. The shadowy figures seated behind Barnes on the set are theater and dance students from the University of Colorado, staged as atmospheric performers by experimental filmmaker Stan Brakhage, who shot three of the ten episodes. The original broadcast tapes were long thought destroyed, but one set had been preserved at the Library of Congress, which is how the episodes survive today.
The context matters, and it cuts against Barnes more than it excuses her. A ten-part series for a general public audience could reasonably be expected to simplify, and one might defend the Sartrean inflection as a teacher’s compression for lay viewers. That defense fails on a single fact. Barnes is the philosopher who coined the term “humanistic existentialism” as a shared label for Sartre, Beauvoir, and Camus, and she used it in the title of her 1959 book The Literature of Possibility: A Study in Humanistic Existentialism, three years before the broadcast. Her opening sentence in the passage above, that Camus “puts the question in humanistic terms,” is her signature classification in action. She is arguing, across her career, that these three thinkers belong inside a single humanist project. The television audience gave her the opportunity to broadcast that argument to the country. What sounds like compression for a general viewer is the position itself, delivered in its most public form.
Notice the rhetorical method before the content. On camera, Barnes speaks the middle portion of this passage in Camus’ voice. “I do not know, he says” establishes the ventriloquism, and then the attribution drops away, so that “if the meaning is not a human meaning, then how can it be a meaning at all for me?” appears to come from Camus’ own mouth. The technique is sophisticated. When Barnes is accurate, the ventriloquism functions as faithful translation. When she slides, the slide is harder to catch because the viewer hears it as Camus speaking rather than as Barnes interpreting. The frame sentence sets the agenda before the impersonation begins. Camus, Barnes tells us, “puts the question in humanistic terms.” Before a single quotation has been offered, the audience has been told what kind of thinker Camus is. The rest of the passage will make good on the promise of the label.
Start with what Barnes gets right. She captures Camus’ epistemic posture with admirable precision when she has him say that he does not know whether the world has a meaning that transcends it, and that if such meaning exists, it lies outside any human capacity to verify. This is accurate to Camus. He is agnostic about the transcendent, and his agnosticism is strategic. The absurd requires two parties, the human needing meaning and the universe withholding it. A flat declaration that the universe is empty would leave nothing to confront, only a report to file. Barnes grasps that Camus preserves the tension, and she names that tension well.
She is also accurate on the closing point, that “when man appeals to the universe for meaning, for form, for unity, there is no answer.” This is the silence at the heart of The Myth of Sisyphus. The universe does not respond in the language we bring to it. It gives back nothing that matches our need. Barnes hears the silence and records it faithfully.
Between these two accurate observations, her summary performs three operations that move Camus in a direction he did not move himself. The first operation lives in a single clause: “And if the meaning is not a human meaning, then how can it be a meaning at all for me?” That clause belongs to Barnes rather than to Camus. Camus’ actual position is narrower. He writes that we cannot know the transcendent, and what we cannot know cannot guide us. Barnes’ clause converts epistemic humility into metaphysical dismissal. The Camus position preserves the unknown as unknown, and the absurd lives in that suspension. Barnes renders the unknown as functionally nonexistent, which collapses the gap she will need in her next sentence. The slide is small enough that a viewer may not catch it, especially when it arrives in what appears to be Camus’ own voice.
The second operation is the framing of the alternatives: “the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death.” Camus does open his book by naming suicide as the one serious philosophical question, so Barnes’ framing matches the opening of the text. Her account falters at the book’s destination. The entire argument of The Myth of Sisyphus is that suicide and religious faith fall into the same category of error. Both escape the absurd. Both resolve the tension by removing one of its two terms. Religious faith abolishes the silence of the universe by filling it with God. Suicide abolishes the human need by ending the one who needs. Camus calls them both forms of philosophical suicide, and he refuses each one. His third path, which Barnes’ summary does not name, is revolt. Live with the absurd, awake and unreconciled, refusing the consolation of transcendence and refusing the erasure of the self. That third path is the point of the book. A viewer who finishes Barnes’ summary without knowing the third path exists has been given the setup and denied the argument.
The third operation is the most philosophically consequential. Barnes defines absurdity as “a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving.” This is where the Sartrean translation becomes audible. For Camus, the absurd lies in the distance between what we need and what the universe will confirm. The distance between aspiration and capacity is a different problem, a practical and psychological one the book does not address. Barnes has moved the absurd from cosmology to psychology. In her frame, absurdity concerns human striving and human limitation, a problem that could in principle be addressed through effort, solidarity, political action, the building of meaning among ourselves. That is a coherent philosophical position and a recognizably Sartrean one. Camus wrote something else. For Camus, the absurd is a permanent condition that arises the moment a conscious creature asks the universe to account for itself and hears nothing back. No achievement closes that gap. The gap sits between us and the silence itself, a position no striving can reach.
Notice also the qualifier “if one assumes that there is no higher meaning.” Barnes inserts this phrase almost in passing, but it reverses Camus’ posture. Camus makes no such assumption. He refuses to assume in either direction. The absurd is not the consequence of an atheist verdict, it is the condition that holds when a person cannot reach a verdict and still needs meaning. Barnes’ phrasing gives the viewer permission to think of absurdity as the mood of a person who has already decided the universe is empty. Camus’ absurd belongs to someone still standing at the edge of the question with no verdict available.
Why does this reading matter beyond its scholarly accuracy? The Camus who emerges from Barnes’ summary is a humanist in waiting, a thinker who has arrived at the absurd and needs only to turn the corner into a Sartrean ethics of engagement to be complete. Barnes would have welcomed such a Camus. Sartre would have welcomed such a Camus. Her term of art, “humanistic existentialism,” assumes exactly that Camus. The historical Camus broke with Sartre publicly in 1952 over The Rebel, and the break turned on exactly this kind of absorption. Sartre wanted to fold the absurd into a program of historical action, into a humanism that used absurdity as a starting gun for political commitment. Camus resisted the folding. He thought the absurd was harder than Sartre’s humanism allowed. He thought it stayed alien even after one had decided to live inside it. The revolt he described in Sisyphus and extended in The Rebel was never a political program dressed in metaphysical language. It was a permanent posture of the self against a universe that will never confirm the self’s demands.
Barnes’ softening is sympathetic, and she was a serious thinker, which makes the softening instructive rather than dismissible. A careless reader would miss Camus entirely. A careful reader trained in Sartre hears Camus and translates him unconsciously into the closest available dialect. The cost of that translation is the loss of what was specifically Camusian about Camus. His refusal of consolation included the consolation of humanism. He would not let the audience off the hook by promising that solidarity or achievement could close the gap that opened when the universe refused to answer. The gap stays open. One lives in it. That is the whole ethic of the book.
A fair critic could press back here and argue that Camus’ own position is less stable than the argument above allows. The revolt Camus describes does start to look humanist when examined hard. Sisyphus pushing the rock, imagined happy at his labor, resembles the Sartrean project of meaning-making through commitment. Barnes might answer that she has simply read Camus as he was becoming, not as he managed to freeze himself in 1942. The defense against this critique has to rest on what Camus explicitly resisted. The Rebel, published nine years after Sisyphus, draws a sharp line between rebellion and the humanist absorption Sartre was constructing. Camus had every opportunity to collapse his position into Sartre’s and he refused. The refusal is the evidence. Whatever instabilities the revolt contains, Camus himself insisted that revolt was not the same project Sartre was running. Barnes’ reading, sophisticated as it is, reads Camus as the Camus he might have been had he taken one more step, rather than the Camus whose whole authorship was a refusal of that step.
The broader stakes are worth naming. Contemporary humanism, in its secular and religious shapes, wants to close the gap with meaning built from below, communities and causes and identities that furnish the significance the universe refused to provide. Those projects can be valuable on their own terms. Those projects describe something other than Camus’ position. Camus described a life lived awake inside the silence, with meaning made locally and honestly and without any pretense that the silence had been filled. The first approach is effective because it motivates action, builds solidarity, makes the world workable. It is not effective because it tends toward bad faith the moment it claims the absurd has been resolved. The second approach is effective because it refuses bad faith and keeps the confrontation visible. It is not effective in the sense of making anyone comfortable, and it was never meant to.
Barnes taught American readers how to hear Sartre, and she taught American television viewers how to hear existentialism itself. She did not hear Camus the same way, and reading her carefully shows where the frame she carried pulled the text toward her. The Camus she describes remains worth reading. The Camus she does not quite describe, the one who refused the third consolation after refusing the first two, is the one still worth arguing with. The silence he insisted on is still there, and the question of how to live inside it without domesticating it is the same question he left us. Anyone who tells you the gap has been closed is selling something. Camus’ honesty lay in refusing to sell it.
#beingAndNothingness #camus #epistemicHumility #faith #framing #god #hazelBarnes #humanism #meaning #metaphysicalDismissal #myth #philosophy #sarte #Sartrean #sisyphus #suicide #unity #ventriloquism -
The Silence Camus Refused to Domesticate: Hazel Barnes, The Myth of Sisyphus, and the Cost of a Sympathetic Misreading
Hazel Barnes was one of the most careful American readers of French existentialism in the twentieth century. She translated Sartre’s Being and Nothingness in 1956, a labor that shaped how generations of American students encountered Continental thought. When she turns to Camus, though, something interesting happens on the page. Her summary of The Myth of Sisyphus is partly accurate and partly an act of quiet translation in the other direction, pulling Camus toward a Sartrean humanism that Camus himself spent the last decade of his life resisting.
Here is the passage in question:Albert Camus, in his book, The Myth of Sisyphus, puts the question in humanistic terms. I do not know, he says, whether or not this world has a meaning which transcends it. But this I am fully aware of, that if there is a higher meaning, it is not one which it is possible for me to know. And if the meaning is not a human meaning, then how can it be a meaning at all for me? In this case, the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death. What one encounters, if one assumes that there is no higher meaning, is what existentialist writers have called the absurd. Absurdity is a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving. It is the fact that when man appeals to the universe for meaning, for form, for unity, there is no answer.
This passage comes from Self-Encounter: A Study in Existentialism, a ten-part television series Barnes wrote and hosted for National Educational Television, the predecessor to PBS, broadcast in 1961 and 1962. KRMA in Denver produced it, and the lines above are from the third episode, “To Leap Or Not To Leap,” which takes Camus as its focus. The shadowy figures seated behind Barnes on the set are theater and dance students from the University of Colorado, staged as atmospheric performers by experimental filmmaker Stan Brakhage, who shot three of the ten episodes. The original broadcast tapes were long thought destroyed, but one set had been preserved at the Library of Congress, which is how the episodes survive today.
The context matters, and it cuts against Barnes more than it excuses her. A ten-part series for a general public audience could reasonably be expected to simplify, and one might defend the Sartrean inflection as a teacher’s compression for lay viewers. That defense fails on a single fact. Barnes is the philosopher who coined the term “humanistic existentialism” as a shared label for Sartre, Beauvoir, and Camus, and she used it in the title of her 1959 book The Literature of Possibility: A Study in Humanistic Existentialism, three years before the broadcast. Her opening sentence in the passage above, that Camus “puts the question in humanistic terms,” is her signature classification in action. She is arguing, across her career, that these three thinkers belong inside a single humanist project. The television audience gave her the opportunity to broadcast that argument to the country. What sounds like compression for a general viewer is the position itself, delivered in its most public form.
Notice the rhetorical method before the content. On camera, Barnes speaks the middle portion of this passage in Camus’ voice. “I do not know, he says” establishes the ventriloquism, and then the attribution drops away, so that “if the meaning is not a human meaning, then how can it be a meaning at all for me?” appears to come from Camus’ own mouth. The technique is sophisticated. When Barnes is accurate, the ventriloquism functions as faithful translation. When she slides, the slide is harder to catch because the viewer hears it as Camus speaking rather than as Barnes interpreting. The frame sentence sets the agenda before the impersonation begins. Camus, Barnes tells us, “puts the question in humanistic terms.” Before a single quotation has been offered, the audience has been told what kind of thinker Camus is. The rest of the passage will make good on the promise of the label.
Start with what Barnes gets right. She captures Camus’ epistemic posture with admirable precision when she has him say that he does not know whether the world has a meaning that transcends it, and that if such meaning exists, it lies outside any human capacity to verify. This is accurate to Camus. He is agnostic about the transcendent, and his agnosticism is strategic. The absurd requires two parties, the human needing meaning and the universe withholding it. A flat declaration that the universe is empty would leave nothing to confront, only a report to file. Barnes grasps that Camus preserves the tension, and she names that tension well.
She is also accurate on the closing point, that “when man appeals to the universe for meaning, for form, for unity, there is no answer.” This is the silence at the heart of The Myth of Sisyphus. The universe does not respond in the language we bring to it. It gives back nothing that matches our need. Barnes hears the silence and records it faithfully.
Between these two accurate observations, her summary performs three operations that move Camus in a direction he did not move himself. The first operation lives in a single clause: “And if the meaning is not a human meaning, then how can it be a meaning at all for me?” That clause belongs to Barnes rather than to Camus. Camus’ actual position is narrower. He writes that we cannot know the transcendent, and what we cannot know cannot guide us. Barnes’ clause converts epistemic humility into metaphysical dismissal. The Camus position preserves the unknown as unknown, and the absurd lives in that suspension. Barnes renders the unknown as functionally nonexistent, which collapses the gap she will need in her next sentence. The slide is small enough that a viewer may not catch it, especially when it arrives in what appears to be Camus’ own voice.
The second operation is the framing of the alternatives: “the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death.” Camus does open his book by naming suicide as the one serious philosophical question, so Barnes’ framing matches the opening of the text. Her account falters at the book’s destination. The entire argument of The Myth of Sisyphus is that suicide and religious faith fall into the same category of error. Both escape the absurd. Both resolve the tension by removing one of its two terms. Religious faith abolishes the silence of the universe by filling it with God. Suicide abolishes the human need by ending the one who needs. Camus calls them both forms of philosophical suicide, and he refuses each one. His third path, which Barnes’ summary does not name, is revolt. Live with the absurd, awake and unreconciled, refusing the consolation of transcendence and refusing the erasure of the self. That third path is the point of the book. A viewer who finishes Barnes’ summary without knowing the third path exists has been given the setup and denied the argument.
The third operation is the most philosophically consequential. Barnes defines absurdity as “a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving.” This is where the Sartrean translation becomes audible. For Camus, the absurd lies in the distance between what we need and what the universe will confirm. The distance between aspiration and capacity is a different problem, a practical and psychological one the book does not address. Barnes has moved the absurd from cosmology to psychology. In her frame, absurdity concerns human striving and human limitation, a problem that could in principle be addressed through effort, solidarity, political action, the building of meaning among ourselves. That is a coherent philosophical position and a recognizably Sartrean one. Camus wrote something else. For Camus, the absurd is a permanent condition that arises the moment a conscious creature asks the universe to account for itself and hears nothing back. No achievement closes that gap. The gap sits between us and the silence itself, a position no striving can reach.
Notice also the qualifier “if one assumes that there is no higher meaning.” Barnes inserts this phrase almost in passing, but it reverses Camus’ posture. Camus makes no such assumption. He refuses to assume in either direction. The absurd is not the consequence of an atheist verdict, it is the condition that holds when a person cannot reach a verdict and still needs meaning. Barnes’ phrasing gives the viewer permission to think of absurdity as the mood of a person who has already decided the universe is empty. Camus’ absurd belongs to someone still standing at the edge of the question with no verdict available.
Why does this reading matter beyond its scholarly accuracy? The Camus who emerges from Barnes’ summary is a humanist in waiting, a thinker who has arrived at the absurd and needs only to turn the corner into a Sartrean ethics of engagement to be complete. Barnes would have welcomed such a Camus. Sartre would have welcomed such a Camus. Her term of art, “humanistic existentialism,” assumes exactly that Camus. The historical Camus broke with Sartre publicly in 1952 over The Rebel, and the break turned on exactly this kind of absorption. Sartre wanted to fold the absurd into a program of historical action, into a humanism that used absurdity as a starting gun for political commitment. Camus resisted the folding. He thought the absurd was harder than Sartre’s humanism allowed. He thought it stayed alien even after one had decided to live inside it. The revolt he described in Sisyphus and extended in The Rebel was never a political program dressed in metaphysical language. It was a permanent posture of the self against a universe that will never confirm the self’s demands.
Barnes’ softening is sympathetic, and she was a serious thinker, which makes the softening instructive rather than dismissible. A careless reader would miss Camus entirely. A careful reader trained in Sartre hears Camus and translates him unconsciously into the closest available dialect. The cost of that translation is the loss of what was specifically Camusian about Camus. His refusal of consolation included the consolation of humanism. He would not let the audience off the hook by promising that solidarity or achievement could close the gap that opened when the universe refused to answer. The gap stays open. One lives in it. That is the whole ethic of the book.
A fair critic could press back here and argue that Camus’ own position is less stable than the argument above allows. The revolt Camus describes does start to look humanist when examined hard. Sisyphus pushing the rock, imagined happy at his labor, resembles the Sartrean project of meaning-making through commitment. Barnes might answer that she has simply read Camus as he was becoming, not as he managed to freeze himself in 1942. The defense against this critique has to rest on what Camus explicitly resisted. The Rebel, published nine years after Sisyphus, draws a sharp line between rebellion and the humanist absorption Sartre was constructing. Camus had every opportunity to collapse his position into Sartre’s and he refused. The refusal is the evidence. Whatever instabilities the revolt contains, Camus himself insisted that revolt was not the same project Sartre was running. Barnes’ reading, sophisticated as it is, reads Camus as the Camus he might have been had he taken one more step, rather than the Camus whose whole authorship was a refusal of that step.
The broader stakes are worth naming. Contemporary humanism, in its secular and religious shapes, wants to close the gap with meaning built from below, communities and causes and identities that furnish the significance the universe refused to provide. Those projects can be valuable on their own terms. Those projects describe something other than Camus’ position. Camus described a life lived awake inside the silence, with meaning made locally and honestly and without any pretense that the silence had been filled. The first approach is effective because it motivates action, builds solidarity, makes the world workable. It is not effective because it tends toward bad faith the moment it claims the absurd has been resolved. The second approach is effective because it refuses bad faith and keeps the confrontation visible. It is not effective in the sense of making anyone comfortable, and it was never meant to.
Barnes taught American readers how to hear Sartre, and she taught American television viewers how to hear existentialism itself. She did not hear Camus the same way, and reading her carefully shows where the frame she carried pulled the text toward her. The Camus she describes remains worth reading. The Camus she does not quite describe, the one who refused the third consolation after refusing the first two, is the one still worth arguing with. The silence he insisted on is still there, and the question of how to live inside it without domesticating it is the same question he left us. Anyone who tells you the gap has been closed is selling something. Camus’ honesty lay in refusing to sell it.
#beingAndNothingness #camus #epistemicHumility #faith #framing #god #hazelBarnes #humanism #meaning #metaphysicalDismissal #myth #philosophy #sarte #Sartrean #sisyphus #suicide #unity #ventriloquism -
The Silence Camus Refused to Domesticate: Hazel Barnes, The Myth of Sisyphus, and the Cost of a Sympathetic Misreading
Hazel Barnes was one of the most careful American readers of French existentialism in the twentieth century. She translated Sartre’s Being and Nothingness in 1956, a labor that shaped how generations of American students encountered Continental thought. When she turns to Camus, though, something interesting happens on the page. Her summary of The Myth of Sisyphus is partly accurate and partly an act of quiet translation in the other direction, pulling Camus toward a Sartrean humanism that Camus himself spent the last decade of his life resisting.
Here is the passage in question:Albert Camus, in his book, The Myth of Sisyphus, puts the question in humanistic terms. I do not know, he says, whether or not this world has a meaning which transcends it. But this I am fully aware of, that if there is a higher meaning, it is not one which it is possible for me to know. And if the meaning is not a human meaning, then how can it be a meaning at all for me? In this case, the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death. What one encounters, if one assumes that there is no higher meaning, is what existentialist writers have called the absurd. Absurdity is a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving. It is the fact that when man appeals to the universe for meaning, for form, for unity, there is no answer.
This passage comes from Self-Encounter: A Study in Existentialism, a ten-part television series Barnes wrote and hosted for National Educational Television, the predecessor to PBS, broadcast in 1961 and 1962. KRMA in Denver produced it, and the lines above are from the third episode, “To Leap Or Not To Leap,” which takes Camus as its focus. The shadowy figures seated behind Barnes on the set are theater and dance students from the University of Colorado, staged as atmospheric performers by experimental filmmaker Stan Brakhage, who shot three of the ten episodes. The original broadcast tapes were long thought destroyed, but one set had been preserved at the Library of Congress, which is how the episodes survive today.
The context matters, and it cuts against Barnes more than it excuses her. A ten-part series for a general public audience could reasonably be expected to simplify, and one might defend the Sartrean inflection as a teacher’s compression for lay viewers. That defense fails on a single fact. Barnes is the philosopher who coined the term “humanistic existentialism” as a shared label for Sartre, Beauvoir, and Camus, and she used it in the title of her 1959 book The Literature of Possibility: A Study in Humanistic Existentialism, three years before the broadcast. Her opening sentence in the passage above, that Camus “puts the question in humanistic terms,” is her signature classification in action. She is arguing, across her career, that these three thinkers belong inside a single humanist project. The television audience gave her the opportunity to broadcast that argument to the country. What sounds like compression for a general viewer is the position itself, delivered in its most public form.
Notice the rhetorical method before the content. On camera, Barnes speaks the middle portion of this passage in Camus’ voice. “I do not know, he says” establishes the ventriloquism, and then the attribution drops away, so that “if the meaning is not a human meaning, then how can it be a meaning at all for me?” appears to come from Camus’ own mouth. The technique is sophisticated. When Barnes is accurate, the ventriloquism functions as faithful translation. When she slides, the slide is harder to catch because the viewer hears it as Camus speaking rather than as Barnes interpreting. The frame sentence sets the agenda before the impersonation begins. Camus, Barnes tells us, “puts the question in humanistic terms.” Before a single quotation has been offered, the audience has been told what kind of thinker Camus is. The rest of the passage will make good on the promise of the label.
Start with what Barnes gets right. She captures Camus’ epistemic posture with admirable precision when she has him say that he does not know whether the world has a meaning that transcends it, and that if such meaning exists, it lies outside any human capacity to verify. This is accurate to Camus. He is agnostic about the transcendent, and his agnosticism is strategic. The absurd requires two parties, the human needing meaning and the universe withholding it. A flat declaration that the universe is empty would leave nothing to confront, only a report to file. Barnes grasps that Camus preserves the tension, and she names that tension well.
She is also accurate on the closing point, that “when man appeals to the universe for meaning, for form, for unity, there is no answer.” This is the silence at the heart of The Myth of Sisyphus. The universe does not respond in the language we bring to it. It gives back nothing that matches our need. Barnes hears the silence and records it faithfully.
Between these two accurate observations, her summary performs three operations that move Camus in a direction he did not move himself. The first operation lives in a single clause: “And if the meaning is not a human meaning, then how can it be a meaning at all for me?” That clause belongs to Barnes rather than to Camus. Camus’ actual position is narrower. He writes that we cannot know the transcendent, and what we cannot know cannot guide us. Barnes’ clause converts epistemic humility into metaphysical dismissal. The Camus position preserves the unknown as unknown, and the absurd lives in that suspension. Barnes renders the unknown as functionally nonexistent, which collapses the gap she will need in her next sentence. The slide is small enough that a viewer may not catch it, especially when it arrives in what appears to be Camus’ own voice.
The second operation is the framing of the alternatives: “the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death.” Camus does open his book by naming suicide as the one serious philosophical question, so Barnes’ framing matches the opening of the text. Her account falters at the book’s destination. The entire argument of The Myth of Sisyphus is that suicide and religious faith fall into the same category of error. Both escape the absurd. Both resolve the tension by removing one of its two terms. Religious faith abolishes the silence of the universe by filling it with God. Suicide abolishes the human need by ending the one who needs. Camus calls them both forms of philosophical suicide, and he refuses each one. His third path, which Barnes’ summary does not name, is revolt. Live with the absurd, awake and unreconciled, refusing the consolation of transcendence and refusing the erasure of the self. That third path is the point of the book. A viewer who finishes Barnes’ summary without knowing the third path exists has been given the setup and denied the argument.
The third operation is the most philosophically consequential. Barnes defines absurdity as “a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving.” This is where the Sartrean translation becomes audible. For Camus, the absurd lies in the distance between what we need and what the universe will confirm. The distance between aspiration and capacity is a different problem, a practical and psychological one the book does not address. Barnes has moved the absurd from cosmology to psychology. In her frame, absurdity concerns human striving and human limitation, a problem that could in principle be addressed through effort, solidarity, political action, the building of meaning among ourselves. That is a coherent philosophical position and a recognizably Sartrean one. Camus wrote something else. For Camus, the absurd is a permanent condition that arises the moment a conscious creature asks the universe to account for itself and hears nothing back. No achievement closes that gap. The gap sits between us and the silence itself, a position no striving can reach.
Notice also the qualifier “if one assumes that there is no higher meaning.” Barnes inserts this phrase almost in passing, but it reverses Camus’ posture. Camus makes no such assumption. He refuses to assume in either direction. The absurd is not the consequence of an atheist verdict, it is the condition that holds when a person cannot reach a verdict and still needs meaning. Barnes’ phrasing gives the viewer permission to think of absurdity as the mood of a person who has already decided the universe is empty. Camus’ absurd belongs to someone still standing at the edge of the question with no verdict available.
Why does this reading matter beyond its scholarly accuracy? The Camus who emerges from Barnes’ summary is a humanist in waiting, a thinker who has arrived at the absurd and needs only to turn the corner into a Sartrean ethics of engagement to be complete. Barnes would have welcomed such a Camus. Sartre would have welcomed such a Camus. Her term of art, “humanistic existentialism,” assumes exactly that Camus. The historical Camus broke with Sartre publicly in 1952 over The Rebel, and the break turned on exactly this kind of absorption. Sartre wanted to fold the absurd into a program of historical action, into a humanism that used absurdity as a starting gun for political commitment. Camus resisted the folding. He thought the absurd was harder than Sartre’s humanism allowed. He thought it stayed alien even after one had decided to live inside it. The revolt he described in Sisyphus and extended in The Rebel was never a political program dressed in metaphysical language. It was a permanent posture of the self against a universe that will never confirm the self’s demands.
Barnes’ softening is sympathetic, and she was a serious thinker, which makes the softening instructive rather than dismissible. A careless reader would miss Camus entirely. A careful reader trained in Sartre hears Camus and translates him unconsciously into the closest available dialect. The cost of that translation is the loss of what was specifically Camusian about Camus. His refusal of consolation included the consolation of humanism. He would not let the audience off the hook by promising that solidarity or achievement could close the gap that opened when the universe refused to answer. The gap stays open. One lives in it. That is the whole ethic of the book.
A fair critic could press back here and argue that Camus’ own position is less stable than the argument above allows. The revolt Camus describes does start to look humanist when examined hard. Sisyphus pushing the rock, imagined happy at his labor, resembles the Sartrean project of meaning-making through commitment. Barnes might answer that she has simply read Camus as he was becoming, not as he managed to freeze himself in 1942. The defense against this critique has to rest on what Camus explicitly resisted. The Rebel, published nine years after Sisyphus, draws a sharp line between rebellion and the humanist absorption Sartre was constructing. Camus had every opportunity to collapse his position into Sartre’s and he refused. The refusal is the evidence. Whatever instabilities the revolt contains, Camus himself insisted that revolt was not the same project Sartre was running. Barnes’ reading, sophisticated as it is, reads Camus as the Camus he might have been had he taken one more step, rather than the Camus whose whole authorship was a refusal of that step.
The broader stakes are worth naming. Contemporary humanism, in its secular and religious shapes, wants to close the gap with meaning built from below, communities and causes and identities that furnish the significance the universe refused to provide. Those projects can be valuable on their own terms. Those projects describe something other than Camus’ position. Camus described a life lived awake inside the silence, with meaning made locally and honestly and without any pretense that the silence had been filled. The first approach is effective because it motivates action, builds solidarity, makes the world workable. It is not effective because it tends toward bad faith the moment it claims the absurd has been resolved. The second approach is effective because it refuses bad faith and keeps the confrontation visible. It is not effective in the sense of making anyone comfortable, and it was never meant to.
Barnes taught American readers how to hear Sartre, and she taught American television viewers how to hear existentialism itself. She did not hear Camus the same way, and reading her carefully shows where the frame she carried pulled the text toward her. The Camus she describes remains worth reading. The Camus she does not quite describe, the one who refused the third consolation after refusing the first two, is the one still worth arguing with. The silence he insisted on is still there, and the question of how to live inside it without domesticating it is the same question he left us. Anyone who tells you the gap has been closed is selling something. Camus’ honesty lay in refusing to sell it.
#beingAndNothingness #camus #epistemicHumility #faith #framing #god #hazelBarnes #humanism #meaning #metaphysicalDismissal #myth #philosophy #sarte #Sartrean #sisyphus #suicide #unity #ventriloquism -
The Silence Camus Refused to Domesticate: Hazel Barnes, The Myth of Sisyphus, and the Cost of a Sympathetic Misreading
Hazel Barnes was one of the most careful American readers of French existentialism in the twentieth century. She translated Sartre’s Being and Nothingness in 1956, a labor that shaped how generations of American students encountered Continental thought. When she turns to Camus, though, something interesting happens on the page. Her summary of The Myth of Sisyphus is partly accurate and partly an act of quiet translation in the other direction, pulling Camus toward a Sartrean humanism that Camus himself spent the last decade of his life resisting.
Here is the passage in question:Albert Camus, in his book, The Myth of Sisyphus, puts the question in humanistic terms. I do not know, he says, whether or not this world has a meaning which transcends it. But this I am fully aware of, that if there is a higher meaning, it is not one which it is possible for me to know. And if the meaning is not a human meaning, then how can it be a meaning at all for me? In this case, the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death. What one encounters, if one assumes that there is no higher meaning, is what existentialist writers have called the absurd. Absurdity is a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving. It is the fact that when man appeals to the universe for meaning, for form, for unity, there is no answer.
This passage comes from Self-Encounter: A Study in Existentialism, a ten-part television series Barnes wrote and hosted for National Educational Television, the predecessor to PBS, broadcast in 1961 and 1962. KRMA in Denver produced it, and the lines above are from the third episode, “To Leap Or Not To Leap,” which takes Camus as its focus. The shadowy figures seated behind Barnes on the set are theater and dance students from the University of Colorado, staged as atmospheric performers by experimental filmmaker Stan Brakhage, who shot three of the ten episodes. The original broadcast tapes were long thought destroyed, but one set had been preserved at the Library of Congress, which is how the episodes survive today.
The context matters, and it cuts against Barnes more than it excuses her. A ten-part series for a general public audience could reasonably be expected to simplify, and one might defend the Sartrean inflection as a teacher’s compression for lay viewers. That defense fails on a single fact. Barnes is the philosopher who coined the term “humanistic existentialism” as a shared label for Sartre, Beauvoir, and Camus, and she used it in the title of her 1959 book The Literature of Possibility: A Study in Humanistic Existentialism, three years before the broadcast. Her opening sentence in the passage above, that Camus “puts the question in humanistic terms,” is her signature classification in action. She is arguing, across her career, that these three thinkers belong inside a single humanist project. The television audience gave her the opportunity to broadcast that argument to the country. What sounds like compression for a general viewer is the position itself, delivered in its most public form.
Notice the rhetorical method before the content. On camera, Barnes speaks the middle portion of this passage in Camus’ voice. “I do not know, he says” establishes the ventriloquism, and then the attribution drops away, so that “if the meaning is not a human meaning, then how can it be a meaning at all for me?” appears to come from Camus’ own mouth. The technique is sophisticated. When Barnes is accurate, the ventriloquism functions as faithful translation. When she slides, the slide is harder to catch because the viewer hears it as Camus speaking rather than as Barnes interpreting. The frame sentence sets the agenda before the impersonation begins. Camus, Barnes tells us, “puts the question in humanistic terms.” Before a single quotation has been offered, the audience has been told what kind of thinker Camus is. The rest of the passage will make good on the promise of the label.
Start with what Barnes gets right. She captures Camus’ epistemic posture with admirable precision when she has him say that he does not know whether the world has a meaning that transcends it, and that if such meaning exists, it lies outside any human capacity to verify. This is accurate to Camus. He is agnostic about the transcendent, and his agnosticism is strategic. The absurd requires two parties, the human needing meaning and the universe withholding it. A flat declaration that the universe is empty would leave nothing to confront, only a report to file. Barnes grasps that Camus preserves the tension, and she names that tension well.
She is also accurate on the closing point, that “when man appeals to the universe for meaning, for form, for unity, there is no answer.” This is the silence at the heart of The Myth of Sisyphus. The universe does not respond in the language we bring to it. It gives back nothing that matches our need. Barnes hears the silence and records it faithfully.
Between these two accurate observations, her summary performs three operations that move Camus in a direction he did not move himself. The first operation lives in a single clause: “And if the meaning is not a human meaning, then how can it be a meaning at all for me?” That clause belongs to Barnes rather than to Camus. Camus’ actual position is narrower. He writes that we cannot know the transcendent, and what we cannot know cannot guide us. Barnes’ clause converts epistemic humility into metaphysical dismissal. The Camus position preserves the unknown as unknown, and the absurd lives in that suspension. Barnes renders the unknown as functionally nonexistent, which collapses the gap she will need in her next sentence. The slide is small enough that a viewer may not catch it, especially when it arrives in what appears to be Camus’ own voice.
The second operation is the framing of the alternatives: “the leap in question is no longer the leap toward God in faith. It is the literal leap over the precipice toward death.” Camus does open his book by naming suicide as the one serious philosophical question, so Barnes’ framing matches the opening of the text. Her account falters at the book’s destination. The entire argument of The Myth of Sisyphus is that suicide and religious faith fall into the same category of error. Both escape the absurd. Both resolve the tension by removing one of its two terms. Religious faith abolishes the silence of the universe by filling it with God. Suicide abolishes the human need by ending the one who needs. Camus calls them both forms of philosophical suicide, and he refuses each one. His third path, which Barnes’ summary does not name, is revolt. Live with the absurd, awake and unreconciled, refusing the consolation of transcendence and refusing the erasure of the self. That third path is the point of the book. A viewer who finishes Barnes’ summary without knowing the third path exists has been given the setup and denied the argument.
The third operation is the most philosophically consequential. Barnes defines absurdity as “a discrepancy, a gap between man’s aspirations, and that which he is capable, even at best, of achieving.” This is where the Sartrean translation becomes audible. For Camus, the absurd lies in the distance between what we need and what the universe will confirm. The distance between aspiration and capacity is a different problem, a practical and psychological one the book does not address. Barnes has moved the absurd from cosmology to psychology. In her frame, absurdity concerns human striving and human limitation, a problem that could in principle be addressed through effort, solidarity, political action, the building of meaning among ourselves. That is a coherent philosophical position and a recognizably Sartrean one. Camus wrote something else. For Camus, the absurd is a permanent condition that arises the moment a conscious creature asks the universe to account for itself and hears nothing back. No achievement closes that gap. The gap sits between us and the silence itself, a position no striving can reach.
Notice also the qualifier “if one assumes that there is no higher meaning.” Barnes inserts this phrase almost in passing, but it reverses Camus’ posture. Camus makes no such assumption. He refuses to assume in either direction. The absurd is not the consequence of an atheist verdict, it is the condition that holds when a person cannot reach a verdict and still needs meaning. Barnes’ phrasing gives the viewer permission to think of absurdity as the mood of a person who has already decided the universe is empty. Camus’ absurd belongs to someone still standing at the edge of the question with no verdict available.
Why does this reading matter beyond its scholarly accuracy? The Camus who emerges from Barnes’ summary is a humanist in waiting, a thinker who has arrived at the absurd and needs only to turn the corner into a Sartrean ethics of engagement to be complete. Barnes would have welcomed such a Camus. Sartre would have welcomed such a Camus. Her term of art, “humanistic existentialism,” assumes exactly that Camus. The historical Camus broke with Sartre publicly in 1952 over The Rebel, and the break turned on exactly this kind of absorption. Sartre wanted to fold the absurd into a program of historical action, into a humanism that used absurdity as a starting gun for political commitment. Camus resisted the folding. He thought the absurd was harder than Sartre’s humanism allowed. He thought it stayed alien even after one had decided to live inside it. The revolt he described in Sisyphus and extended in The Rebel was never a political program dressed in metaphysical language. It was a permanent posture of the self against a universe that will never confirm the self’s demands.
Barnes’ softening is sympathetic, and she was a serious thinker, which makes the softening instructive rather than dismissible. A careless reader would miss Camus entirely. A careful reader trained in Sartre hears Camus and translates him unconsciously into the closest available dialect. The cost of that translation is the loss of what was specifically Camusian about Camus. His refusal of consolation included the consolation of humanism. He would not let the audience off the hook by promising that solidarity or achievement could close the gap that opened when the universe refused to answer. The gap stays open. One lives in it. That is the whole ethic of the book.
A fair critic could press back here and argue that Camus’ own position is less stable than the argument above allows. The revolt Camus describes does start to look humanist when examined hard. Sisyphus pushing the rock, imagined happy at his labor, resembles the Sartrean project of meaning-making through commitment. Barnes might answer that she has simply read Camus as he was becoming, not as he managed to freeze himself in 1942. The defense against this critique has to rest on what Camus explicitly resisted. The Rebel, published nine years after Sisyphus, draws a sharp line between rebellion and the humanist absorption Sartre was constructing. Camus had every opportunity to collapse his position into Sartre’s and he refused. The refusal is the evidence. Whatever instabilities the revolt contains, Camus himself insisted that revolt was not the same project Sartre was running. Barnes’ reading, sophisticated as it is, reads Camus as the Camus he might have been had he taken one more step, rather than the Camus whose whole authorship was a refusal of that step.
The broader stakes are worth naming. Contemporary humanism, in its secular and religious shapes, wants to close the gap with meaning built from below, communities and causes and identities that furnish the significance the universe refused to provide. Those projects can be valuable on their own terms. Those projects describe something other than Camus’ position. Camus described a life lived awake inside the silence, with meaning made locally and honestly and without any pretense that the silence had been filled. The first approach is effective because it motivates action, builds solidarity, makes the world workable. It is not effective because it tends toward bad faith the moment it claims the absurd has been resolved. The second approach is effective because it refuses bad faith and keeps the confrontation visible. It is not effective in the sense of making anyone comfortable, and it was never meant to.
Barnes taught American readers how to hear Sartre, and she taught American television viewers how to hear existentialism itself. She did not hear Camus the same way, and reading her carefully shows where the frame she carried pulled the text toward her. The Camus she describes remains worth reading. The Camus she does not quite describe, the one who refused the third consolation after refusing the first two, is the one still worth arguing with. The silence he insisted on is still there, and the question of how to live inside it without domesticating it is the same question he left us. Anyone who tells you the gap has been closed is selling something. Camus’ honesty lay in refusing to sell it.
#beingAndNothingness #camus #epistemicHumility #faith #framing #god #hazelBarnes #humanism #meaning #metaphysicalDismissal #myth #philosophy #sarte #Sartrean #sisyphus #suicide #unity #ventriloquism -
The Finite Lens: How a Fragile Life Gives Shape to an Infinite Universe
The question arrives early and stays late: what does it mean to live a finite, fragile life inside an infinite, eternal universe? Every serious person encounters this problem, usually around the age when the body first betrays its limits, and no one resolves it cleanly. Theology dissolves the question by denying its premise. Science measures the mismatch with such precision that the human side of the equation vanishes into decimal places. And the popular existentialist answers, the ones printed on coffee mugs and quoted in commencement speeches, have been sanded down so thoroughly that they function as anesthesia rather than analysis.
The question deserves better than any of these treatments. It deserves to be held open, examined under pressure, and allowed to remain uncomfortable.
The Asymmetry
Start from the direction of the universe and the human life looks like a rounding error. Our cosmos is approximately 13.8 billion years old. The average human lifespan, even in the most medically privileged nations, occupies roughly 80 years of that span. Express the ratio and you arrive at a number so small it resists intuition. You are, measured against the full temporal scale, less than a flicker. Less than a photon’s transit across a single atom, proportionally speaking.
Now reverse the direction. Start from the body, from the specific locus of a single nervous system processing sensory data in a particular room on a particular afternoon, and the universe becomes the abstraction. The cosmos has never experienced a Wednesday. It has never tasted copper on the back of its tongue during a nosebleed. It has never recognized a face in a crowd or understood, with the specific sinking weight that only a conscious being can generate, that this will end. The universe is infinite and eternal and has no experience of either condition. Panpsychist arguments might attribute proto-consciousness to matter itself, but even those frameworks require integration and boundary to produce anything resembling experience, which returns us to the same point: experience needs a finite frame. You are finite and fragile and experience both conditions constantly.
This asymmetry is the entire problem, and it is also the entire answer. Most attempts to address the question fail because they try to resolve the asymmetry rather than examine what it produces.
The Consolation Error
The first failure mode is consolation. Nearly every major religious tradition offers some version of the same move: the finite life is not actually finite. It continues, elsewhere, in another form, on another plane, in another body. The soul persists. Consciousness transfers. The drop returns to the ocean. Specific metaphors vary by culture and century, but the structural logic is identical in every case. Anxiety produced by finitude is managed by reclassifying finitude as an illusion.
What this move never does is confront the question it claims to answer. If the life is not actually finite, then the original tension between finite life and infinite universe does not exist, and there is nothing to explain. The consolation retreats from the paradox rather than resolving it. And the retreat has consequences. A person who believes that consciousness continues after biological death is making a different set of calculations about how to spend Tuesday afternoon than a person who believes Tuesday afternoon is drawn from a non-renewable account. The consolation changes behavior by changing the perceived stakes, and the changed stakes may or may not produce a life that the person, looking back from any vantage point, would endorse.
Religious belief can survive this observation intact. The target here is narrower: using religious belief as an escape hatch from a question that operates independently of any theological commitment. Even if consciousness does persist after death, the specific form of experience available to a human body in a human lifespan, the form that includes embodiment, limitation, sensory saturation, and the constant negotiation with a decaying physical substrate, that form ends. The question is about that form, and no afterlife addresses it.
The Absurdist Shortcut
The second failure mode is absurdism, and it gets closer to honesty before veering away. Camus, writing in the middle of the twentieth century with the wreckage of two world wars still smoking in the background, argued that the confrontation between a meaning-seeking human and a meaningless universe produces the absurd. His prescribed response was defiance: acknowledge the mismatch, refuse both suicide and consolation, and keep pushing the boulder. We must imagine Sisyphus happy, he wrote, and the sentence has been quoted so frequently that it now functions as a kind of secular prayer, recited for comfort rather than analyzed for content.
Camus, though, converts the absurd into an aesthetic posture. Sisyphus becomes admirable, even heroic, and the absurdity of his situation becomes a stage on which he performs dignity. The appeal is immediate, and so is the evasion. Performing dignity in the face of meaninglessness is itself a meaning-making act, which means Camus has smuggled purpose back into a framework that was supposed to exclude it. If Sisyphus is happy because his defiance constitutes a form of self-authorship, then the universe has become a venue for self-authorship, which is a meaning. Camus would call this “revolt” and argue that revolt is the whole point, that the absurd generates its own ethic. Fair enough; but then the position has migrated from an epistemological claim about the absence of meaning to an ethical claim about the creation of meaning through resistance, and those are different propositions with different burdens of proof. Rigorously applied, the absurdist position should be unlivable. That Camus makes it livable suggests he has abandoned it somewhere between the premise and the conclusion.
Sartre made a parallel move from the existentialist side, arguing that existence precedes essence and that human beings are “condemned to be free.” The condemnation framing is rhetorically effective, but it too becomes a kind of aesthetic stance: the anguish of radical freedom is performed rather than endured. By the time Sartre reaches his prescriptions for engagement and commitment, he has left the raw confrontation with finitude behind and entered a system of ethics that, however admirable, no longer sits with the original vertigo.
What Finitude Actually Produces
Strip away the consolation and the aesthetic postures and what remains is a structural observation. Finitude functions as the precondition for consciousness to operate at all, the architecture that makes experience possible.
Consider what infinity would mean for experience. An infinite being could not experience sequence, because sequence requires that one moment end before the next begins, and in an infinite frame, no moment is privileged over any other. Loss would be equally unavailable, because loss requires that something once possessed become permanently unavailable, and permanent unavailability is a concept that has no purchase in an infinite system where everything recurs or persists. Anticipation would vanish as well, because anticipation requires uncertainty about what comes next, and an infinite being either contains all possible futures simultaneously or extends through all of them serially, neither of which permits the specific tension of not knowing.
Heidegger understood this when he argued that Dasein’s being-toward-death is the structural precondition for any moment to register as significant. This is a philosophical observation about conditions, not a psychological guarantee about outcomes. Plenty of people are crushed by the awareness of their own finitude; anxiety disorders, existential paralysis, and the entire pharmaceutical architecture of modern life testify to finitude’s capacity to destroy as readily as it generates. The structural point holds regardless: even the terror is available only to a finite being. An infinite consciousness could not experience dread, because dread requires a future that might contain annihilation, and an infinite being faces no such future. Remove the horizon and the landscape flattens. A life without an endpoint is a life without shape, and a life without shape cannot generate meaning, because meaning requires selection, and selection requires that most possibilities will go unrealized. You chose this sentence over the infinite set of sentences you might have written. That choice cost you time, and the time came from a finite supply. The cost is what makes the choice real.
Here is a practical example. You write a book. That book exists because you arranged specific words in a specific order and excluded all other possible arrangements. The infinite universe contains, in some abstract combinatorial sense, every possible book: every arrangement of every symbol in every language, including arrangements that are gibberish and arrangements that are masterpieces no human will ever compose. Not one of those hypothetical books means anything. Yours does, because it cost you years you will not recover, attention you cannot redistribute, and effort drawn from an account that accepts no deposits. The finitude generates the value, acting as the mechanism that makes the creative expenditure register. A book that cost nothing to produce, that emerged from an infinite supply of time and attention, would carry no weight. Weight requires gravity, and gravity requires mass, and in this analogy, mass is limitation.
Fragility as Intensifier
Finitude alone would be sufficient to generate meaning, but the human situation includes a second constraint that sharpens the first. The life is finite and, on top of that, fragile. The span can be cut short at any moment by accident, disease, violence, or cascading systemic failure. You are running out of time in the long actuarial sense, and you also cannot guarantee the next hour.
This fragility adds pressure to every act of attention. Montaigne understood this and built his entire literary project on the foundation of that understanding. The essay form, provisional and exploratory, matched the condition of a mind that knew it might be interrupted at any moment. Treatises imply completion and systematic coverage; Montaigne chose instead to write attempts, which is what the French word “essai” means: trials, tests, experiments conducted by a consciousness that cannot promise to be present for the conclusion. The fragility clarified his priorities rather than freezing them. When you cannot guarantee the future, the present tense becomes the only reliable site of action, and the quality of attention you bring to the present becomes the only variable fully under your control.
Simone Weil made a related argument from a different angle when she described attention as the rarest form of generosity. She was writing about prayer, but the observation holds in secular contexts. Attention, the deliberate focusing of a finite mind on a specific object, is expensive precisely because the mind is mortal. Every moment of concentration is drawn from a supply that is both limited and vulnerable to sudden termination. You pay for attention with life, and you pay at a rate you cannot negotiate.
The Poverty of Infinity
The reciprocal observation is less frequently made but equally important. If finitude is the condition that produces meaning, then infinity is the condition that prevents it. The infinite universe has no priorities. It cannot. Priority requires preference, preference requires perspective, and perspective requires a located, bounded observer who can distinguish between here and there, now and then, this and that. The universe is everywhere and everywhen simultaneously, which means it is, in experiential terms, nowhere and never. Its infinity is a form of poverty. It contains everything and experiences nothing.
This is counterintuitive because human beings tend to associate infinity with richness and finitude with deprivation. We speak of “limited” lifespans as though the limitation were a loss, as though somewhere there exists a full-length version of a human life from which ours has been cut short. The framing is backwards. The infinite version would be the impoverished one: a life that included everything would be a life that selected nothing, and a life that selected nothing would be indistinguishable, in experiential terms, from a life that never occurred.
Jorge Luis Borges explored this in “The Library of Babel,” his story about an infinite library containing every possible book. The library is simultaneously the greatest imaginable repository of knowledge and a total waste, because the books that contain truth are buried among an effectively infinite number of books that contain nonsense, and no finite reader can distinguish between them. The library’s infinity makes it useless. Only a finite reader, approaching the library with limited time and specific questions, could extract value from any single volume. The finitude of the reader is what makes the library legible.
The Lens
So what does it mean to live a finite, fragile life in an infinite, eternal universe? You are the part of the universe that knows the universe is there. Your finitude is the specific structural feature that allows the cosmos to become legible. You are the lens through which infinity briefly achieves focus, and the focus holds only because the lens will break.
The breaking constitutes the design itself. A lens that never broke would be a lens that never focused, because focusing requires boundaries, and boundaries are what fragile things possess. The universe needs your limits more than you need its expanse. Without a finite observer, the infinite has no witness. Without a fragile consciousness, the eternal has no moment. The relationship lacks symmetry, and symmetry would add nothing to it. The comparison between your scale and the universe’s scale misidentifies the relevant metric entirely. You and the universe are performing different functions, and yours is the one that requires courage.
The honest response to this situation is seriousness. That word needs to be distinguished from solemnity, which is an aesthetic posture, and from gravity, which is a mood. Seriousness, in this context, means treating each act of attention as consequential because it is drawn from a non-renewable supply. Refuse the consolation that would make the supply seem infinite; refuse equally the ironic detachment that would make the expenditure seem meaningless. Live as though the account is real, the balance is declining, and the only question that matters is what you purchase with what remains.
The universe does not need to be watching. The account does not need to balance against some cosmic ledger. Recognition alone suffices: the asymmetry between your finitude and the universe’s infinity is the condition that makes you the one asking the question, while the universe, for all its reach and duration, has never once thought to ask.
#absurdist #camus #error #finitude #heidegger #history #life #meaning #religion #sartre #science #sisyphus #tech -
Norman Vincent Peale wrote "The power of positive thinking." Trump internalised all of that and look how that's going.
Albert Camus talked about the benefits of being a pessimist in a famous essay.
I think I'd rather be on Team Camus imagining myself as a happy Sisyphus.
#Camus #PositiveMentalAttitude #Philosophy #SelfDeception #FakeItTillYouMakeIt #Narcissism #MoralArguments #Manifesting
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https://www.europesays.com/it/410174/ Lo straniero di Camus, film di François Ozon: trama, cast #albert #AlbertCamus #algeria #apparente #aprile #bianco #BiancoNero #camus #CamusFilm #capire #cinema #Entertainment #film #FilmBianco #FilmBiancoNero #francese #francesi #françois #fronte #Intrattenimento #IT #Italia #Italy #meursault #Movies #ozon #straniero
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"…One always finds one's burden again. But #Sisyphus teaches the higher fidelity that negates the gods and raises rocks. He too concludes that all is well. This universe henceforth without a master seems to him neither sterile nor futile: Each atom of that stone, each mineral flake of that night-filled mountain, in itself, forms a world. The struggle itself toward the heights is enough to fill a man's heart. One must imagine Sisyphus happy."
- Albert #Camus -
DAS SCHLOSS
im @blnensemble
von Georgia Bruce nach Motiven von Franz #Kafka und Albert #Camus ist als Kampf eines trans Mannes mit Bürokratie und Selbstbild fein inszeniert. Mit einem starken, teils trans Ensemble.
Das Stück entstand in der Reihe WORX, dem internationalen Nachwuchsprogramm des BE. -
Heute gehts ins @blnensemble in
DAS SCHLOSS
oder wir müssen uns K. als einen glücklichen Menschen vorstellen
von Georgia Bruce nach Motiven von Franz #Kafka und Albert #CamusDas Stück verbindet Motive aus Kafkas DAS SCHLOSS mit DER MYTHOS DES SISYPHOS von Camus. Interessante Kombination. Ich bin gespannt.
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François Ozon adaptiert Albert Camus’ existentialistisches Meisterwerk „L’Étranger“ neu ins Kino – in flirrendem Schwarz-Weiß! Der teilnahmslose Held Meursault fasziniert in brillanter Inszenierung. Kinostart: 19. Februar. 🎥✨ https://www.srf.ch/kultur/film-serien/neu-im-kino-l-etranger-in-flirrendem-schwarzweiss #LEtranger #Camus #Ozon #Film #Kultur
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We must imagine Dishyphus happy.
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Das neue Jahr startet mit starkem Wind hier im Norden, als wollte es das alte weg pusten, mit aller Kraft. Irgendwie gefällt mir diese Analogie besonders, nichts wünsche ich mir mehr als dass 2025 verschwindet und nie mehr wieder kommt. Zu sehr hat es versucht an mir zu kratzen und mich auszusaugen.
Wann beginnt also etwas Neues? Natürlich ist ein Jahreswechsel etwas artifizielles. Was soll […]
https://blog.hamdorf.org/2026-beginnt/ -
Je suis allée voir le #film de #FrançoisOzon. Pour ce #vendredilecture , je vous propose un article dans lequel j'essaie de mettre en parallèle, ou en opposition le film #letranger , le #roman de #Camus et la philosophie de l'absurde développée dans son essai philosophique #lemythedesisyphe .
👉 https://linemarsan.fr/letranger-un-roman-et-un-film-a-la-lumiere-du-mythe-de-sisyphe-essai-sur-labsurde-dalbert-camus/ -
CW: CW: Discussion of Multiplicity (OSDD), Inner Worlds, Nature of Self, Lack of Reasonable Existential Terror, Strong Language
Holy shit.
OK, so I mentioned before how I'm a kepholon (effectively a fluid, quasi-fused state of four alters in a tall trenchcoat).
So, I'm talking about what that means with a friend, and I'm talking about my inner world, the Theater, where every one of my alters has a room. The Blue Room, the Red Room, the Yellow Room, the Violet Room, and the Black...Room.......
That's when I realized I don't have a room back there. And when I wondered why, I realized that...oh. I'm...uh...I don't actually have an inner self, I guess? Or not an independent one. Inside, I'm always four. Outside, I can be this one or any combination of my comprising four. But inside?
There's no Ellis in the Theater.
Except for the spotlight. The spotlight, when all four of my fronting alters sync up on stage, turns indigo. And then I exist. Not an individual consciousness but a collective, emergent process.
I end when they stop.
That's so weird to think about. Thank Camus I'm an absurdist. These kinds of thoughts could fuck a girl up!
#OSDD #OSDD1b #DID #Multiplicity #Plurality #InnerWorld #Kepholon #Consciousness #Emergence #Psychology #Neurodiversity #PostConscious #Absurdism #Camus #Identity #Existentialism #Self
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CAMUS (Xile) presenta nou àlbum: "Vortice" #Camus #PowerMetal #Octubre2025 #Xile #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic
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CW: CW: Suicide / Self-Harm (Metaphysical Discussion), Nihilism
With some assistance, I was able to go into detail about my philosophical positions on things! Here's what I learned about my belief system and how it fits into the Zeitgeist! I'm pretty excited about it. 😊
Apparently, I'm a Naturalized Ethical Theorist whose normative system is Neurobiological Constrained Utilitarianism, grounded in the metaphysical foundation of Nihilistic Absurdism. My system of beliefs attempts to resolve the conflict between cosmic meaninglessness and the imperative for human action. Albert Camus would've been like, " 😔 🚬 "
I'm not sure I would've know what that means, but I would've thought it was a very cool answer. 😅
▶ Metaphysics
◆ Nihilistic Absurdism
◈ Ultimate Autonomy: The universe is acknowledged as fundamentally indifferent, offering no external meaning. This grants the individual ultimate autonomy, establishing the right to decide that the confrontation with the absurd is not worth the effort, making suicide a metaphysically valid "opt-out."▶ Ethics
◆ Naturalized Ethical Theory:
◈ Core Belief: Morality is a rational construct based on observable, empirical facts about humanity, specifically our neurobiology and psychoemotional needs.
◈ The Absurdist Revolt: Since no cosmic meaning exists, meaning must be created. The system grounds this created meaning in observable reality—the universal, empirical facts of human biology and psychology.
◈ The Five Core Neurobiological Needs (The Neurobiological Minimum): These are the empirically-defined constraints that must be met for all people to ensure stability and psychological health, serving as the absolute floor for utility maximization:
◇ Care/Harm: The desire to protect kin and avoid suffering.
◇ Fairness/Reciprocity: The need for justice and proportional treatment.
◇ Loyalty/Belonging: The need for in-group cohesion and security.
◇ Authority/Respect: The need for social order and legitimate hierarchy.
◇ Sanctity/Degradation: The need for purity, dignity, and bodily integrity.◆ Neurobiological Constrained Utilitarianism
◈ Ethical Duty: For those who choose to live, the duty is to maximize the greatest good (utility) for the collective, but this goal is strictly constrained by the absolute requirement that the species-wide Neurobiological Minimum of all people must be met.
◈ The Ethical Contract & Defense: This system is an "all or nothing" contract. Active violation of the Minimum by an individual agent results in the forfeiture of that individual's protection, allowing for self-defense and institutional justice.
◇ Restriction on Harming Populations vs. Individuals: Harming an entire population is strictly forbidden, as it constitutes a systematic and unjust violation of the Neurobiological Minimum for countless innocent non-agents within that group.
◈ Eudaimonia: Human flourishing is achieved when one lives authentically by engaging in one's own ethical system; adherence to these self-created, rational duties fulfills the core psychoemotional need for integrity and meaning, generating the highest personal utility.So... what about you? 💙 😺
#Philosophy #NihilisticAbsurdism #NaturalizedEthics #ConstrainedUtilitarianism #NeurobiologicalEthics #Existentialism #EllisArcwolf #DeepThoughts #AcademicMastodon #SelfReflection #Metaphysics #Camus #MeaningOfLife #PhilosophicalZeitgeist
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I'm a big Camus fan - a new adaptation of The Stranger by Francois Ozon (in French, of course) will premiere at the Venice Film Festival. It stars Benjamin Voisin as Mersault, and it looks great. Psyched to see this one.
Trailer: https://www.youtube.com/watch?v=fV3F2fkevCM
#Camus #FrenchFilm #film #movies #films #TheStranger #AlbertCamus #FrancoisOzon #2025Movies #2025Films #France #French #FrenchFilms #absurdist #absurdism #existentialist #existentialism #existentialists
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Got a new article up at totalpropaganda.net. It's part one of a three-part essay about the deep roots of what I've started calling "replacement ideology," which is to say a fear of demographic replacement and the attendant belief that aggressive measures are necessary to rid the national community of outsiders.
That way of thinking didn't start with the term "The Great Replacement," which has only been in widespread usage for the past 15 years or so, but to get the discussion started, this post looks at the guy who coined the term, what he meant by it, and how his explanation functions as "constitutive rhetoric."
I'll hold off on a detailed explanation here, but suffice to say that constitutive rhetoric doesn't try to convince people to change their minds so much as it tells people who they are and that they should act accordingly. It's something that comes up a lot in nationalist movements, go figure.
At any rate, I (a giant nerd) think it's interesting stuff, but I wouldn't bother writing it all out like this if I didn't think it could also help people understand just how racist, xenophobic, and, yes, fascist ideas spread and motivate action. Regardless of what that gazillionaire author says, where there is violence, violent language is never far away.
https://totalpropaganda.net/2025/09/18/is-there-a-great-replacement-if-you-cant-read-french/
#GreatReplacement #RenaudCamus #Camus #ConstitutiveRhetoric #TotalPropaganda #xenophobia #fascism #identitarianism #Althusser #KennethBurke #MauriceCharland
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Kun lukee tappohelteillä Camus'n Sivullisen, ymmärtää häntäluuta myöten miksi kävi niin kuin kävi, huh. #camus #sivullinen #helle #luku #lukukokemus
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Death means nothing to men like me. It's the event that proves them right.
#einzelgänger #einzelganger #philosopher #quoteoftheday #philosophy #quotestoliveby #dailyquotes #thoughts #thoughtoftheday #lifequotes #absurdism #existentialism #existentialist #albertcamus #camus
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Let's not beat around the bush; I love life — that's my real weakness. I love it so much that I am incapable of imagining what is not life.
#einzelgänger #einzelganger #philosopher #quoteoftheday #philosophy #quotestoliveby #dailyquotes #thoughts #thoughtoftheday #lifequotes #existentialism #existentialist #albertcamus #camus
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Neulich Abend unterhielt ich mich mit einem Freund, dessen Leben sich in vielerlei Hinsicht radikal von meinem unterschied – er ist fast zwanzig Jahre jünger als ich und in einem Haushalt aufgewachsen, der meinem überhaupt nicht glich. Wir sprachen darüber, wie wir beide im #Unterricht #Bücher unter unseren Schreibtischen lasen. Keine S#chulbücher, sondern eskapistische #Fantasy-#Literatur. Während der gesamten Mittelstufe hatte ich eine Linie quer über der Stirn, von der Stelle, an der die Kante des Schreibtisches in meine Haut drückte, während ich unter dem Tisch Bücher las.Ich hatte keine besonders gute Zeit in der Mittelstufe. Meine beiden besten Freunde waren gerade weggezogen, und unsere Mittelschicht-Nachbarschaft mit gemischten Einkommen war in ein wohlhabenderes Viertel umgesiedelt worden, um den Ort zu diversifizieren. Ich hatte nicht mehr nur einen #Mobber, wie in der #Grundschule, sondern etwa die Hälfte der Schule beteiligte sich an den Misshandlungen, die ich erlitt. (Ich hasse es wirklich, wie abfällig wir über „Mobbing“ sprechen, als wäre routinemäßiger körperlicher und emotionaler #Missbrauch etwas, das keiner weiteren Analyse bedarf.)
Die Mittelschule war die Hölle. Sobald ich sie hinter mir hatte und auf die #Highschool ging, erinnere ich mich, dass ich mir dachte: „Warum habe ich nicht viele konkrete Erinnerungen an die letzten Jahre meines Lebens?“
Die Mittelstufe war die Hölle, aber ich habe überlebt, und vielleicht habe ich überlebt, weil ich #Tolkien und #Heinlein und #Dumas und #Jacques und #Pierce und was auch immer für kitschige Fantasy-Romane ich mir jede Woche aus der #Bibliothek holte. Vielleicht habe ich überlebt, weil es das öffentliche #Bibliothekssystem gab. Vielleicht habe ich überlebt, weil es den Spieleladen gab, der Bücher über #Dungeons & #Dragons verkaufte – ich hatte niemanden zum Spielen, aber ich verbrachte viel Zeit damit, #Enzyklopädien über Welten zu lesen, die es nie gab.
Daher habe ich die Bedeutung von spekulativer #Fiktion und #Eskapismus nie wirklich in Frage gestellt. Die Möglichkeit, für eine Weile nicht ich selbst zu sein, hatte schon immer einen sehr hohen Stellenwert. Am Ende der #Highschool fühlte ich mich mehr zur „Literatur“ hingezogen, insbesondere zu ängstlichen europäischen Männern wie #Camus und #Hesse, aber ich habe nie aufgehört, #Fantasy zu lesen.
Ich möchte hier nicht einmal Bücher über Fernsehen, Videospiele, Filme und andere Formen der #Realitätsflucht stellen, obwohl Bücher immer einen besonderen Platz in meinem Herzen haben werden.
Als ich das College abbrach, um Güterzüge zu fahren und gegen die Regierung zu kämpfen, flüchtete ich, nun ja, vor etwas. Ich befreite mich. Ich zahlte keine Miete mehr, ich arbeitete nicht mehr in einem regulären Job. Ich lebte in verlassenen Gebäuden und unter Brücken. Anstatt Würfel zu werfen, um Schlösser zu knacken, lernte ich, Schlösser zu knacken. Anstelle von Schatztruhen gab es Müllcontainer. Anstelle einer Abenteurergruppe hatte ich Tramper-Kumpels und eine Bezugsgruppe. Ich hatte den schwarzen Block und ich hatte #Waldverteidigung.
Aber die ganze Zeit über las ich Bücher. Niemand verschlingt Romane so wie Baumpfleger – was zum Teufel soll man sonst den ganzen Tag machen?
Als Kind habe ich „Der Hobbit“ wieder und wieder gelesen, aber als ich „Der Herr der Ringe“ zum ersten Mal las, war ich erwachsen, vielleicht 20 oder so, in einem Waldschutzlager im pazifischen Nordwesten. Ich hatte Wache. Ich und ein Freund saßen die ganze Nacht hinter einem Baumstamm neben einer Schotterstraße und verfolgten, wer rein- und rauskam, und informierten alle, wenn Polizisten auftauchten, um uns zu verhaften. Mein Begleiter schlief sofort ein, jede Nacht. Ich las „Herr der Ringe“ im Licht einer roten Stirnlampe. Ich entkam nicht einmal meiner Flucht, nicht wirklich, sondern verstärkte sie stattdessen. Hier war ich nun und lebte ein Leben voller Abenteuer, las über Leben voller Abenteuer.
Und doch war ich mir trotz allem nicht sicher, ob es für einen Möchtegern-Revolutionär eine gute Zeitverwendung war, eskapistische Dinge zu schreiben. Klar, ich blieb lange auf, um zu lesen (oder Videospiele zu spielen, wenn ich einen Ort mit ausreichend Strom finden konnte). Aber so etwas tatsächlich zu machen? War es nicht wichtiger, etwas zu organisieren? Ich schrieb hier und da Geschichten, aber ich war zu schüchtern, um sie zu teilen. Was bedeutete das Schreiben schon, wenn im Wald Bäume fielen und im Ausland #Bomben fielen?
Ich schrieb Ursula K. Le Guin einen Brief. Sie war eine meiner Heldinnen, eine pazifistische #Anarchistin, die so viele Bücher geschrieben hatte, die so vielen Menschen so viel bedeuteten. Ich schrieb ihr einen Brief an ihr Postfach und sagte: „Hallo, ich bin eine junge Autorin von anarchistischer #Belletristik und frage mich, welche Rolle Belletristik beim sozialen Wandel spielt. Kann ich dich für ein Zine dazu interviewen?“
Sie antwortete mir per E-Mail und wir schrieben eine Weile miteinander. Ich erweiterte das Projekt von einem Zine zu einem Buch, in dem ich jeden anarchistischen Romanautor interviewte, den ich zu diesem Zeitpunkt finden konnte. So lernte ich die Rolle der Belletristik, insbesondere der spekulativen Belletristik, im sozialen Wandel kennen. Es gibt so viele Dinge: Belletristik stellt Fragen besser als sie Antworten liefert und fordert die Leser so heraus, ihre eigenen Schlussfolgerungen zu ziehen; Belletristik gibt uns Vorbilder; Belletristik ermöglicht es uns, die Idee zu erforschen, dass die Gesellschaft grundlegend anders sein könnte (zum Besseren oder Schlechteren).
Aber Fiktion ermöglicht uns auch, zu entkommen. Und das ist nicht falsch.
(...)
Weiterlesen in meiner Übersetzung des Beitrages The Duty to Escape or: tolkien and le guin on escapist fantasy von @margaret: Die Pflicht zur Flucht oder: Tolkien und Le Guin über eskapistische Fantasien
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Neulich Abend unterhielt ich mich mit einem Freund, dessen Leben sich in vielerlei Hinsicht radikal von meinem unterschied – er ist fast zwanzig Jahre jünger als ich und in einem Haushalt aufgewachsen, der meinem überhaupt nicht glich. Wir sprachen darüber, wie wir beide im #Unterricht #Bücher unter unseren Schreibtischen lasen. Keine S#chulbücher, sondern eskapistische #Fantasy-#Literatur. Während der gesamten Mittelstufe hatte ich eine Linie quer über der Stirn, von der Stelle, an der die Kante des Schreibtisches in meine Haut drückte, während ich unter dem Tisch Bücher las.Ich hatte keine besonders gute Zeit in der Mittelstufe. Meine beiden besten Freunde waren gerade weggezogen, und unsere Mittelschicht-Nachbarschaft mit gemischten Einkommen war in ein wohlhabenderes Viertel umgesiedelt worden, um den Ort zu diversifizieren. Ich hatte nicht mehr nur einen #Mobber, wie in der #Grundschule, sondern etwa die Hälfte der Schule beteiligte sich an den Misshandlungen, die ich erlitt. (Ich hasse es wirklich, wie abfällig wir über „Mobbing“ sprechen, als wäre routinemäßiger körperlicher und emotionaler #Missbrauch etwas, das keiner weiteren Analyse bedarf.)
Die Mittelschule war die Hölle. Sobald ich sie hinter mir hatte und auf die #Highschool ging, erinnere ich mich, dass ich mir dachte: „Warum habe ich nicht viele konkrete Erinnerungen an die letzten Jahre meines Lebens?“
Die Mittelstufe war die Hölle, aber ich habe überlebt, und vielleicht habe ich überlebt, weil ich #Tolkien und #Heinlein und #Dumas und #Jacques und #Pierce und was auch immer für kitschige Fantasy-Romane ich mir jede Woche aus der #Bibliothek holte. Vielleicht habe ich überlebt, weil es das öffentliche #Bibliothekssystem gab. Vielleicht habe ich überlebt, weil es den Spieleladen gab, der Bücher über #Dungeons & #Dragons verkaufte – ich hatte niemanden zum Spielen, aber ich verbrachte viel Zeit damit, #Enzyklopädien über Welten zu lesen, die es nie gab.
Daher habe ich die Bedeutung von spekulativer #Fiktion und #Eskapismus nie wirklich in Frage gestellt. Die Möglichkeit, für eine Weile nicht ich selbst zu sein, hatte schon immer einen sehr hohen Stellenwert. Am Ende der #Highschool fühlte ich mich mehr zur „Literatur“ hingezogen, insbesondere zu ängstlichen europäischen Männern wie #Camus und #Hesse, aber ich habe nie aufgehört, #Fantasy zu lesen.
Ich möchte hier nicht einmal Bücher über Fernsehen, Videospiele, Filme und andere Formen der #Realitätsflucht stellen, obwohl Bücher immer einen besonderen Platz in meinem Herzen haben werden.
Als ich das College abbrach, um Güterzüge zu fahren und gegen die Regierung zu kämpfen, flüchtete ich, nun ja, vor etwas. Ich befreite mich. Ich zahlte keine Miete mehr, ich arbeitete nicht mehr in einem regulären Job. Ich lebte in verlassenen Gebäuden und unter Brücken. Anstatt Würfel zu werfen, um Schlösser zu knacken, lernte ich, Schlösser zu knacken. Anstelle von Schatztruhen gab es Müllcontainer. Anstelle einer Abenteurergruppe hatte ich Tramper-Kumpels und eine Bezugsgruppe. Ich hatte den schwarzen Block und ich hatte #Waldverteidigung.
Aber die ganze Zeit über las ich Bücher. Niemand verschlingt Romane so wie Baumpfleger – was zum Teufel soll man sonst den ganzen Tag machen?
Als Kind habe ich „Der Hobbit“ wieder und wieder gelesen, aber als ich „Der Herr der Ringe“ zum ersten Mal las, war ich erwachsen, vielleicht 20 oder so, in einem Waldschutzlager im pazifischen Nordwesten. Ich hatte Wache. Ich und ein Freund saßen die ganze Nacht hinter einem Baumstamm neben einer Schotterstraße und verfolgten, wer rein- und rauskam, und informierten alle, wenn Polizisten auftauchten, um uns zu verhaften. Mein Begleiter schlief sofort ein, jede Nacht. Ich las „Herr der Ringe“ im Licht einer roten Stirnlampe. Ich entkam nicht einmal meiner Flucht, nicht wirklich, sondern verstärkte sie stattdessen. Hier war ich nun und lebte ein Leben voller Abenteuer, las über Leben voller Abenteuer.
Und doch war ich mir trotz allem nicht sicher, ob es für einen Möchtegern-Revolutionär eine gute Zeitverwendung war, eskapistische Dinge zu schreiben. Klar, ich blieb lange auf, um zu lesen (oder Videospiele zu spielen, wenn ich einen Ort mit ausreichend Strom finden konnte). Aber so etwas tatsächlich zu machen? War es nicht wichtiger, etwas zu organisieren? Ich schrieb hier und da Geschichten, aber ich war zu schüchtern, um sie zu teilen. Was bedeutete das Schreiben schon, wenn im Wald Bäume fielen und im Ausland #Bomben fielen?
Ich schrieb Ursula K. Le Guin einen Brief. Sie war eine meiner Heldinnen, eine pazifistische #Anarchistin, die so viele Bücher geschrieben hatte, die so vielen Menschen so viel bedeuteten. Ich schrieb ihr einen Brief an ihr Postfach und sagte: „Hallo, ich bin eine junge Autorin von anarchistischer #Belletristik und frage mich, welche Rolle Belletristik beim sozialen Wandel spielt. Kann ich dich für ein Zine dazu interviewen?“
Sie antwortete mir per E-Mail und wir schrieben eine Weile miteinander. Ich erweiterte das Projekt von einem Zine zu einem Buch, in dem ich jeden anarchistischen Romanautor interviewte, den ich zu diesem Zeitpunkt finden konnte. So lernte ich die Rolle der Belletristik, insbesondere der spekulativen Belletristik, im sozialen Wandel kennen. Es gibt so viele Dinge: Belletristik stellt Fragen besser als sie Antworten liefert und fordert die Leser so heraus, ihre eigenen Schlussfolgerungen zu ziehen; Belletristik gibt uns Vorbilder; Belletristik ermöglicht es uns, die Idee zu erforschen, dass die Gesellschaft grundlegend anders sein könnte (zum Besseren oder Schlechteren).
Aber Fiktion ermöglicht uns auch, zu entkommen. Und das ist nicht falsch.
(...)
Weiterlesen in meiner Übersetzung des Beitrages The Duty to Escape or: tolkien and le guin on escapist fantasy von @margaret: Die Pflicht zur Flucht oder: Tolkien und Le Guin über eskapistische Fantasien
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Neulich Abend unterhielt ich mich mit einem Freund, dessen Leben sich in vielerlei Hinsicht radikal von meinem unterschied – er ist fast zwanzig Jahre jünger als ich und in einem Haushalt aufgewachsen, der meinem überhaupt nicht glich. Wir sprachen darüber, wie wir beide im #Unterricht #Bücher unter unseren Schreibtischen lasen. Keine S#chulbücher, sondern eskapistische #Fantasy-#Literatur. Während der gesamten Mittelstufe hatte ich eine Linie quer über der Stirn, von der Stelle, an der die Kante des Schreibtisches in meine Haut drückte, während ich unter dem Tisch Bücher las.Ich hatte keine besonders gute Zeit in der Mittelstufe. Meine beiden besten Freunde waren gerade weggezogen, und unsere Mittelschicht-Nachbarschaft mit gemischten Einkommen war in ein wohlhabenderes Viertel umgesiedelt worden, um den Ort zu diversifizieren. Ich hatte nicht mehr nur einen #Mobber, wie in der #Grundschule, sondern etwa die Hälfte der Schule beteiligte sich an den Misshandlungen, die ich erlitt. (Ich hasse es wirklich, wie abfällig wir über „Mobbing“ sprechen, als wäre routinemäßiger körperlicher und emotionaler #Missbrauch etwas, das keiner weiteren Analyse bedarf.)
Die Mittelschule war die Hölle. Sobald ich sie hinter mir hatte und auf die #Highschool ging, erinnere ich mich, dass ich mir dachte: „Warum habe ich nicht viele konkrete Erinnerungen an die letzten Jahre meines Lebens?“
Die Mittelstufe war die Hölle, aber ich habe überlebt, und vielleicht habe ich überlebt, weil ich #Tolkien und #Heinlein und #Dumas und #Jacques und #Pierce und was auch immer für kitschige Fantasy-Romane ich mir jede Woche aus der #Bibliothek holte. Vielleicht habe ich überlebt, weil es das öffentliche #Bibliothekssystem gab. Vielleicht habe ich überlebt, weil es den Spieleladen gab, der Bücher über #Dungeons & #Dragons verkaufte – ich hatte niemanden zum Spielen, aber ich verbrachte viel Zeit damit, #Enzyklopädien über Welten zu lesen, die es nie gab.
Daher habe ich die Bedeutung von spekulativer #Fiktion und #Eskapismus nie wirklich in Frage gestellt. Die Möglichkeit, für eine Weile nicht ich selbst zu sein, hatte schon immer einen sehr hohen Stellenwert. Am Ende der #Highschool fühlte ich mich mehr zur „Literatur“ hingezogen, insbesondere zu ängstlichen europäischen Männern wie #Camus und #Hesse, aber ich habe nie aufgehört, #Fantasy zu lesen.
Ich möchte hier nicht einmal Bücher über Fernsehen, Videospiele, Filme und andere Formen der #Realitätsflucht stellen, obwohl Bücher immer einen besonderen Platz in meinem Herzen haben werden.
Als ich das College abbrach, um Güterzüge zu fahren und gegen die Regierung zu kämpfen, flüchtete ich, nun ja, vor etwas. Ich befreite mich. Ich zahlte keine Miete mehr, ich arbeitete nicht mehr in einem regulären Job. Ich lebte in verlassenen Gebäuden und unter Brücken. Anstatt Würfel zu werfen, um Schlösser zu knacken, lernte ich, Schlösser zu knacken. Anstelle von Schatztruhen gab es Müllcontainer. Anstelle einer Abenteurergruppe hatte ich Tramper-Kumpels und eine Bezugsgruppe. Ich hatte den schwarzen Block und ich hatte #Waldverteidigung.
Aber die ganze Zeit über las ich Bücher. Niemand verschlingt Romane so wie Baumpfleger – was zum Teufel soll man sonst den ganzen Tag machen?
Als Kind habe ich „Der Hobbit“ wieder und wieder gelesen, aber als ich „Der Herr der Ringe“ zum ersten Mal las, war ich erwachsen, vielleicht 20 oder so, in einem Waldschutzlager im pazifischen Nordwesten. Ich hatte Wache. Ich und ein Freund saßen die ganze Nacht hinter einem Baumstamm neben einer Schotterstraße und verfolgten, wer rein- und rauskam, und informierten alle, wenn Polizisten auftauchten, um uns zu verhaften. Mein Begleiter schlief sofort ein, jede Nacht. Ich las „Herr der Ringe“ im Licht einer roten Stirnlampe. Ich entkam nicht einmal meiner Flucht, nicht wirklich, sondern verstärkte sie stattdessen. Hier war ich nun und lebte ein Leben voller Abenteuer, las über Leben voller Abenteuer.
Und doch war ich mir trotz allem nicht sicher, ob es für einen Möchtegern-Revolutionär eine gute Zeitverwendung war, eskapistische Dinge zu schreiben. Klar, ich blieb lange auf, um zu lesen (oder Videospiele zu spielen, wenn ich einen Ort mit ausreichend Strom finden konnte). Aber so etwas tatsächlich zu machen? War es nicht wichtiger, etwas zu organisieren? Ich schrieb hier und da Geschichten, aber ich war zu schüchtern, um sie zu teilen. Was bedeutete das Schreiben schon, wenn im Wald Bäume fielen und im Ausland #Bomben fielen?
Ich schrieb Ursula K. Le Guin einen Brief. Sie war eine meiner Heldinnen, eine pazifistische #Anarchistin, die so viele Bücher geschrieben hatte, die so vielen Menschen so viel bedeuteten. Ich schrieb ihr einen Brief an ihr Postfach und sagte: „Hallo, ich bin eine junge Autorin von anarchistischer #Belletristik und frage mich, welche Rolle Belletristik beim sozialen Wandel spielt. Kann ich dich für ein Zine dazu interviewen?“
Sie antwortete mir per E-Mail und wir schrieben eine Weile miteinander. Ich erweiterte das Projekt von einem Zine zu einem Buch, in dem ich jeden anarchistischen Romanautor interviewte, den ich zu diesem Zeitpunkt finden konnte. So lernte ich die Rolle der Belletristik, insbesondere der spekulativen Belletristik, im sozialen Wandel kennen. Es gibt so viele Dinge: Belletristik stellt Fragen besser als sie Antworten liefert und fordert die Leser so heraus, ihre eigenen Schlussfolgerungen zu ziehen; Belletristik gibt uns Vorbilder; Belletristik ermöglicht es uns, die Idee zu erforschen, dass die Gesellschaft grundlegend anders sein könnte (zum Besseren oder Schlechteren).
Aber Fiktion ermöglicht uns auch, zu entkommen. Und das ist nicht falsch.
(...)
Weiterlesen in meiner Übersetzung des Beitrages The Duty to Escape or: tolkien and le guin on escapist fantasy von @margaret: Die Pflicht zur Flucht oder: Tolkien und Le Guin über eskapistische Fantasien
-
Neulich Abend unterhielt ich mich mit einem Freund, dessen Leben sich in vielerlei Hinsicht radikal von meinem unterschied – er ist fast zwanzig Jahre jünger als ich und in einem Haushalt aufgewachsen, der meinem überhaupt nicht glich. Wir sprachen darüber, wie wir beide im #Unterricht #Bücher unter unseren Schreibtischen lasen. Keine S#chulbücher, sondern eskapistische #Fantasy-#Literatur. Während der gesamten Mittelstufe hatte ich eine Linie quer über der Stirn, von der Stelle, an der die Kante des Schreibtisches in meine Haut drückte, während ich unter dem Tisch Bücher las.Ich hatte keine besonders gute Zeit in der Mittelstufe. Meine beiden besten Freunde waren gerade weggezogen, und unsere Mittelschicht-Nachbarschaft mit gemischten Einkommen war in ein wohlhabenderes Viertel umgesiedelt worden, um den Ort zu diversifizieren. Ich hatte nicht mehr nur einen #Mobber, wie in der #Grundschule, sondern etwa die Hälfte der Schule beteiligte sich an den Misshandlungen, die ich erlitt. (Ich hasse es wirklich, wie abfällig wir über „Mobbing“ sprechen, als wäre routinemäßiger körperlicher und emotionaler #Missbrauch etwas, das keiner weiteren Analyse bedarf.)
Die Mittelschule war die Hölle. Sobald ich sie hinter mir hatte und auf die #Highschool ging, erinnere ich mich, dass ich mir dachte: „Warum habe ich nicht viele konkrete Erinnerungen an die letzten Jahre meines Lebens?“
Die Mittelstufe war die Hölle, aber ich habe überlebt, und vielleicht habe ich überlebt, weil ich #Tolkien und #Heinlein und #Dumas und #Jacques und #Pierce und was auch immer für kitschige Fantasy-Romane ich mir jede Woche aus der #Bibliothek holte. Vielleicht habe ich überlebt, weil es das öffentliche #Bibliothekssystem gab. Vielleicht habe ich überlebt, weil es den Spieleladen gab, der Bücher über #Dungeons & #Dragons verkaufte – ich hatte niemanden zum Spielen, aber ich verbrachte viel Zeit damit, #Enzyklopädien über Welten zu lesen, die es nie gab.
Daher habe ich die Bedeutung von spekulativer #Fiktion und #Eskapismus nie wirklich in Frage gestellt. Die Möglichkeit, für eine Weile nicht ich selbst zu sein, hatte schon immer einen sehr hohen Stellenwert. Am Ende der #Highschool fühlte ich mich mehr zur „Literatur“ hingezogen, insbesondere zu ängstlichen europäischen Männern wie #Camus und #Hesse, aber ich habe nie aufgehört, #Fantasy zu lesen.
Ich möchte hier nicht einmal Bücher über Fernsehen, Videospiele, Filme und andere Formen der #Realitätsflucht stellen, obwohl Bücher immer einen besonderen Platz in meinem Herzen haben werden.
Als ich das College abbrach, um Güterzüge zu fahren und gegen die Regierung zu kämpfen, flüchtete ich, nun ja, vor etwas. Ich befreite mich. Ich zahlte keine Miete mehr, ich arbeitete nicht mehr in einem regulären Job. Ich lebte in verlassenen Gebäuden und unter Brücken. Anstatt Würfel zu werfen, um Schlösser zu knacken, lernte ich, Schlösser zu knacken. Anstelle von Schatztruhen gab es Müllcontainer. Anstelle einer Abenteurergruppe hatte ich Tramper-Kumpels und eine Bezugsgruppe. Ich hatte den schwarzen Block und ich hatte #Waldverteidigung.
Aber die ganze Zeit über las ich Bücher. Niemand verschlingt Romane so wie Baumpfleger – was zum Teufel soll man sonst den ganzen Tag machen?
Als Kind habe ich „Der Hobbit“ wieder und wieder gelesen, aber als ich „Der Herr der Ringe“ zum ersten Mal las, war ich erwachsen, vielleicht 20 oder so, in einem Waldschutzlager im pazifischen Nordwesten. Ich hatte Wache. Ich und ein Freund saßen die ganze Nacht hinter einem Baumstamm neben einer Schotterstraße und verfolgten, wer rein- und rauskam, und informierten alle, wenn Polizisten auftauchten, um uns zu verhaften. Mein Begleiter schlief sofort ein, jede Nacht. Ich las „Herr der Ringe“ im Licht einer roten Stirnlampe. Ich entkam nicht einmal meiner Flucht, nicht wirklich, sondern verstärkte sie stattdessen. Hier war ich nun und lebte ein Leben voller Abenteuer, las über Leben voller Abenteuer.
Und doch war ich mir trotz allem nicht sicher, ob es für einen Möchtegern-Revolutionär eine gute Zeitverwendung war, eskapistische Dinge zu schreiben. Klar, ich blieb lange auf, um zu lesen (oder Videospiele zu spielen, wenn ich einen Ort mit ausreichend Strom finden konnte). Aber so etwas tatsächlich zu machen? War es nicht wichtiger, etwas zu organisieren? Ich schrieb hier und da Geschichten, aber ich war zu schüchtern, um sie zu teilen. Was bedeutete das Schreiben schon, wenn im Wald Bäume fielen und im Ausland #Bomben fielen?
Ich schrieb Ursula K. Le Guin einen Brief. Sie war eine meiner Heldinnen, eine pazifistische #Anarchistin, die so viele Bücher geschrieben hatte, die so vielen Menschen so viel bedeuteten. Ich schrieb ihr einen Brief an ihr Postfach und sagte: „Hallo, ich bin eine junge Autorin von anarchistischer #Belletristik und frage mich, welche Rolle Belletristik beim sozialen Wandel spielt. Kann ich dich für ein Zine dazu interviewen?“
Sie antwortete mir per E-Mail und wir schrieben eine Weile miteinander. Ich erweiterte das Projekt von einem Zine zu einem Buch, in dem ich jeden anarchistischen Romanautor interviewte, den ich zu diesem Zeitpunkt finden konnte. So lernte ich die Rolle der Belletristik, insbesondere der spekulativen Belletristik, im sozialen Wandel kennen. Es gibt so viele Dinge: Belletristik stellt Fragen besser als sie Antworten liefert und fordert die Leser so heraus, ihre eigenen Schlussfolgerungen zu ziehen; Belletristik gibt uns Vorbilder; Belletristik ermöglicht es uns, die Idee zu erforschen, dass die Gesellschaft grundlegend anders sein könnte (zum Besseren oder Schlechteren).
Aber Fiktion ermöglicht uns auch, zu entkommen. Und das ist nicht falsch.
(...)
Weiterlesen in meiner Übersetzung des Beitrages The Duty to Escape or: tolkien and le guin on escapist fantasy von @margaret: Die Pflicht zur Flucht oder: Tolkien und Le Guin über eskapistische Fantasien
-
Neulich Abend unterhielt ich mich mit einem Freund, dessen Leben sich in vielerlei Hinsicht radikal von meinem unterschied – er ist fast zwanzig Jahre jünger als ich und in einem Haushalt aufgewachsen, der meinem überhaupt nicht glich. Wir sprachen darüber, wie wir beide im #Unterricht #Bücher unter unseren Schreibtischen lasen. Keine S#chulbücher, sondern eskapistische #Fantasy-#Literatur. Während der gesamten Mittelstufe hatte ich eine Linie quer über der Stirn, von der Stelle, an der die Kante des Schreibtisches in meine Haut drückte, während ich unter dem Tisch Bücher las.Ich hatte keine besonders gute Zeit in der Mittelstufe. Meine beiden besten Freunde waren gerade weggezogen, und unsere Mittelschicht-Nachbarschaft mit gemischten Einkommen war in ein wohlhabenderes Viertel umgesiedelt worden, um den Ort zu diversifizieren. Ich hatte nicht mehr nur einen #Mobber, wie in der #Grundschule, sondern etwa die Hälfte der Schule beteiligte sich an den Misshandlungen, die ich erlitt. (Ich hasse es wirklich, wie abfällig wir über „Mobbing“ sprechen, als wäre routinemäßiger körperlicher und emotionaler #Missbrauch etwas, das keiner weiteren Analyse bedarf.)
Die Mittelschule war die Hölle. Sobald ich sie hinter mir hatte und auf die #Highschool ging, erinnere ich mich, dass ich mir dachte: „Warum habe ich nicht viele konkrete Erinnerungen an die letzten Jahre meines Lebens?“
Die Mittelstufe war die Hölle, aber ich habe überlebt, und vielleicht habe ich überlebt, weil ich #Tolkien und #Heinlein und #Dumas und #Jacques und #Pierce und was auch immer für kitschige Fantasy-Romane ich mir jede Woche aus der #Bibliothek holte. Vielleicht habe ich überlebt, weil es das öffentliche #Bibliothekssystem gab. Vielleicht habe ich überlebt, weil es den Spieleladen gab, der Bücher über #Dungeons & #Dragons verkaufte – ich hatte niemanden zum Spielen, aber ich verbrachte viel Zeit damit, #Enzyklopädien über Welten zu lesen, die es nie gab.
Daher habe ich die Bedeutung von spekulativer #Fiktion und #Eskapismus nie wirklich in Frage gestellt. Die Möglichkeit, für eine Weile nicht ich selbst zu sein, hatte schon immer einen sehr hohen Stellenwert. Am Ende der #Highschool fühlte ich mich mehr zur „Literatur“ hingezogen, insbesondere zu ängstlichen europäischen Männern wie #Camus und #Hesse, aber ich habe nie aufgehört, #Fantasy zu lesen.
Ich möchte hier nicht einmal Bücher über Fernsehen, Videospiele, Filme und andere Formen der #Realitätsflucht stellen, obwohl Bücher immer einen besonderen Platz in meinem Herzen haben werden.
Als ich das College abbrach, um Güterzüge zu fahren und gegen die Regierung zu kämpfen, flüchtete ich, nun ja, vor etwas. Ich befreite mich. Ich zahlte keine Miete mehr, ich arbeitete nicht mehr in einem regulären Job. Ich lebte in verlassenen Gebäuden und unter Brücken. Anstatt Würfel zu werfen, um Schlösser zu knacken, lernte ich, Schlösser zu knacken. Anstelle von Schatztruhen gab es Müllcontainer. Anstelle einer Abenteurergruppe hatte ich Tramper-Kumpels und eine Bezugsgruppe. Ich hatte den schwarzen Block und ich hatte #Waldverteidigung.
Aber die ganze Zeit über las ich Bücher. Niemand verschlingt Romane so wie Baumpfleger – was zum Teufel soll man sonst den ganzen Tag machen?
Als Kind habe ich „Der Hobbit“ wieder und wieder gelesen, aber als ich „Der Herr der Ringe“ zum ersten Mal las, war ich erwachsen, vielleicht 20 oder so, in einem Waldschutzlager im pazifischen Nordwesten. Ich hatte Wache. Ich und ein Freund saßen die ganze Nacht hinter einem Baumstamm neben einer Schotterstraße und verfolgten, wer rein- und rauskam, und informierten alle, wenn Polizisten auftauchten, um uns zu verhaften. Mein Begleiter schlief sofort ein, jede Nacht. Ich las „Herr der Ringe“ im Licht einer roten Stirnlampe. Ich entkam nicht einmal meiner Flucht, nicht wirklich, sondern verstärkte sie stattdessen. Hier war ich nun und lebte ein Leben voller Abenteuer, las über Leben voller Abenteuer.
Und doch war ich mir trotz allem nicht sicher, ob es für einen Möchtegern-Revolutionär eine gute Zeitverwendung war, eskapistische Dinge zu schreiben. Klar, ich blieb lange auf, um zu lesen (oder Videospiele zu spielen, wenn ich einen Ort mit ausreichend Strom finden konnte). Aber so etwas tatsächlich zu machen? War es nicht wichtiger, etwas zu organisieren? Ich schrieb hier und da Geschichten, aber ich war zu schüchtern, um sie zu teilen. Was bedeutete das Schreiben schon, wenn im Wald Bäume fielen und im Ausland #Bomben fielen?
Ich schrieb Ursula K. Le Guin einen Brief. Sie war eine meiner Heldinnen, eine pazifistische #Anarchistin, die so viele Bücher geschrieben hatte, die so vielen Menschen so viel bedeuteten. Ich schrieb ihr einen Brief an ihr Postfach und sagte: „Hallo, ich bin eine junge Autorin von anarchistischer #Belletristik und frage mich, welche Rolle Belletristik beim sozialen Wandel spielt. Kann ich dich für ein Zine dazu interviewen?“
Sie antwortete mir per E-Mail und wir schrieben eine Weile miteinander. Ich erweiterte das Projekt von einem Zine zu einem Buch, in dem ich jeden anarchistischen Romanautor interviewte, den ich zu diesem Zeitpunkt finden konnte. So lernte ich die Rolle der Belletristik, insbesondere der spekulativen Belletristik, im sozialen Wandel kennen. Es gibt so viele Dinge: Belletristik stellt Fragen besser als sie Antworten liefert und fordert die Leser so heraus, ihre eigenen Schlussfolgerungen zu ziehen; Belletristik gibt uns Vorbilder; Belletristik ermöglicht es uns, die Idee zu erforschen, dass die Gesellschaft grundlegend anders sein könnte (zum Besseren oder Schlechteren).
Aber Fiktion ermöglicht uns auch, zu entkommen. Und das ist nicht falsch.
(...)
Weiterlesen in meiner Übersetzung des Beitrages The Duty to Escape or: tolkien and le guin on escapist fantasy von @margaret: Die Pflicht zur Flucht oder: Tolkien und Le Guin über eskapistische Fantasien
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✏️ « Il a des croûtes rougeâtres sur le visage et le poil jaune et rare. » Albert #Camus, L’Étranger, Le #Livre de poche, #Gallimard. [1965]
✏️ « Il était toujours là, avec son gros ventre, son tablier et ses moustaches blanches. » Albert Camus, L’Étranger, nrf, Gallimard. [1999]
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"Il existe dans toute vie et particulièrement à son aurore un instant qui décide de tout."
"Puisque tout est remis en question chaque jour, rien n’existe."
"Vue dans sa grandeur, l’existence est tragique ; de près, elle est absurdement mesquine"
Jean Grenier, Les Îles.
__________
Retrouvez la Note contemplative (avec des extraits de la préface d'Albert Camus) :
https://sites.google.com/view/mardiphilo/bo%C3%AEte-%C3%A0-outils-philosophiques/notes-contemplatives-de-lecture/nc-jean-grenier-les-%C3%AEles
#Philosophie #Contemplation #Grenier #Camus #Îles -
"Le chat n’aime pas les voyages : il aime seulement la liberté. Il vagabonde, mais c’est toujours pour revenir à un point d’attache. On dit qu’il préfère la maison à l’homme. Notre cœur se refuse à la croire."
Jean Grenier, Les Îles.
__________Retrouvez la Note contemplative, avec la Préface d'Albert Camus :
https://sites.google.com/view/mardiphilo/bo%C3%AEte-%C3%A0-outils-philosophiques/notes-contemplatives-de-lecture/nc-jean-grenier-les-%C3%AEles
#Philosophie #Grenier #Camus -
El eterno retorno de Sísifo ⛓️⛓️🦠🎭 https://buff.ly/2WWvlLo Al comenzar una nueva etapa tras la pausa veraniega te propongo unas reflexiones sobre el mito de Sísifo desde la antigüedad hasta nuestras propias vidas con obras que te sorprenderán de #RobertGraves, #Camus, #Kallifatides, #Monteverdi y #Lully
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EL MISTERIO DE SÍSIFO | ZZ Podcast 05x43
El misterio de Sísifo, aunque muchos lo consideren algo antiguo y propio de la mitología griega, en realidad está más presente que nunca en nuestras vidas. El mito de Sísifo desarrolla ideas asociadas con el concepto de lo absurdo...
https://luisbermejo.com/el-misterio-de-sisifo-zz-podcast-05x43/
#absurdo #camus #crítica #curiosidades #debate #fargo #filosofía #historia #Knight Rider #mito #mitología #papel higiénico #patentes #serie #sísifo #sueño americano #televisión #podcast #ZZPodcast
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Here's a Sadler's Lectures podcast episode on the third "sketch" of ethics of quantity Albert Camus provides in part 2 of The Myth Of Sisyphus, that of the "conquerer"
https://soundcloud.com/gregorybsadler/albert-camus-the-myth-of-sisyphus-a-sketch-the-conquerer
#Camus #Podcast #Philosophy #Ethics #Absurd #Existentialism #Sisyphus #Quantity #Revolt -
Years back, I produced Sadler's Lectures podcast episodes on portions of Camus' Myth of Sisyphus. I've started producing more to finish up that set. Here's the first new one!
https://soundcloud.com/gregorybsadler/albert-camus-the-myth-of-sisyphus-ethics-faced-with-the-absurd
#Camus #Absurd #Philosophy #Ethics #Existentialism #Podcast #Rules #Commitments -
In der #Endabrechnung trägt jeder #Mensch die #Verantwortung für sein eigenes #Gesicht.
(Albert #Camus)
#psychotHHerapie #Zitat #Zitate #AlbertCamus -
#Kuki, lui, quatrième fils d’une (présumée) ancienne geisha et d’un baron haut fonctionnaire du gouvernement, devrait quand-même mériter de beaucoup plus d’attention, surtout en France. « Il faut imaginer Sisyphe heureux » ? C’est Kuki à l’origine de la phrase, #Camus ne l’a que repris dix ans plus tard. Aux débuts de l’existentialisme #JeanPaulSartre s’était mis à la découverte de la phénoménologie allemande à travers Heidegger ? C’est encore Kuki rentré en France qui, après deux semestres à Fribourg (#Husserl) et Marbourg (#Heidegger), introduisait #Sartre à «Être et temps » lors de leurs rencontres hebdomadaires à Paris en automne 1928. 4/5
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#vendredilecture à la redécouverte du philosophe japonais #九鬼周造 #ShūzōKuki à l’origine de la phrase « Il faut imaginer Sisyphe heureux » pourtant attribuée à #Camus. Dans « Shūzō Kuki and Jean-Paul Sartre », #StephenLight parle de l’influence de #Kuki sur la philosophie en France et vice-versa : c’était lui, fils de samouraï, dandy, étudiant de #Husserl, #Rickert et #Heidegger qui introduisait #Sartre à la phénoménologie herméneutique de « Sein und Zeit » pendant son séjour à Paris en 1928. 1/2
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#vendredilecture à la redécouverte du philosophe japonais #九鬼周造 #ShūzōKuki à l’origine de la phrase « Il faut imaginer Sisyphe heureux » pourtant attribuée à #Camus. Dans « Shūzō Kuki and Jean-Paul Sartre », #StephenLight parle de l’influence de #Kuki sur la philosophie en France et vice-versa : c’était lui, fils de samouraï, dandy, étudiant de #Husserl, #Rickert et #Heidegger qui introduisait #Sartre à la phénoménologie herméneutique de « Sein und Zeit » pendant son séjour à Paris en 1928. 1/2
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Video project I did in 2015.
Check it out if you like
#marshalmcluhan
#nietzsche
#sartre
#camus
#samuelbeckett
#gilligansisland
#oedipus
#hamlet
#Kevorkian
#baseball
#meditation
#oldcomercials
#videoart
#tv
#fistfulofdollars -
> Not only did he admire the painters of the early Renaissance, he applied serious analysis of his own to their techniques, observing about the Siennese and Florentine Primitives: “Their insistence on making monuments smaller than men is a result not of an ignorance of the laws of perspective but of a persistence in giving importance to the men and saints whom they depict.”
https://www.researchgate.net/publication/308971696_Albert_Camus_Engages_the_visual_Arts
#Camus #AlbertCamus on #HumanScale #SacredScale #FlorentinePrimitives #RenaissanceArt #Sienneese -
I’ve been on Mastodon for 6 months, just changed servers, and — given the prevalent “this is it” feeling of other Twitter castaways this week — it feels a good time to re-re-introduce myself.
I am a survivor of clergy sexual abuse from Greater Boston — I was one of them kids. My writing sprouts rhizomatically from there and then through autofiction based on 16 years of dream-journaling, episodic dissociation, recalls of abuse, alcohol addiction and recovery, a sensitivity to ephemera and eternal return.
Following a stroke 12 years ago I became a certified personal trainer. Further into recovery I co-hosted wellness seminars for fellow survivors of sexual abuse. Ambulatorily-disabled upon being hit by a 65+mph car 5+ years ago, I now walk with the assistance of a shillelagh. I continue to train in San Miguel Eskrima.
I’m on social media primarily out of concern over COVID and fascism. A recluse, offline I keep to myself. But I’ve also never met a stranger.
...
Interests & Concerns: #Beckett #Camus #MaggieNelson #PattiSmith #Deleuze #DeleuzeAndGuattari #SituationistInternational #Semiotics #Semiotexte #JudithButler #cptsd #nonbinary #demisexual
#ClergySexualAbuseSurvivor #ClusterHeadaches #Stroke
#zazen #QiGong #Eskrima #dissociation #NearDeathExperiences #OutOfBodyExperiences #SleepParalysis
#Kanashibari #DreamJournaling #autofiction #anarchism #antifascism #AntiCapitalism #ACAB #JapaneseCinema #Oshima #JeanLucGodard #Osaka #Berlin #BuenosAires #StillMasking #AmbulatoryDisability #kettlebell #BodyweightCalisthenics
#chess
#MonoNoAware #WabiSabi...
“Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.” — Samuel Beckett
"Life, willing to surpass itself, is the good life, and the good life is the courageous life." — Paul Tillich
"All suffering is formative of the identity that endures it." — Catherine Malabou
"To make trouble was, within the reigning discourse of my childhood, something one should never do precisely because that would get one in trouble. The rebellion and its reprimand seemed to be caught up in the same terms, a phenomenon that gave my first critical insight into the subtle ruse of power: the prevailing law threatened one with trouble, even put one in trouble, all to keep one out of trouble. I concluded that trouble is inevitable and the task how best to make it, what best way to be in it." —Judith Butler
"‘Everything develops, and I myself develop as well; and why this is so will one day be apparent,’ was the formula I was obliged to adopt." — Tolstoy
"I feel that it is necessary and ordained that I should be alone, a stranger and an exile in relation to every human circle without exception." — Simone Weil
"At that stage in a piece of writing where people used to look for explanations, I would like them from now on to find a settling of scores." — Raoul Vaneigem
"The only two things that motivate me and that matter to me are revenge and guilt." —Elvis Costello.
"There is a battle going on, more or less conscious, between Duty and Desire. The part of me which belongs to the world wishes to do its duty : the part of me which belongs to God wishes simply to fulfill what is required and which is un-stateable." — Henry Miller
“I do not believe in God and I am not an atheist.” — Albert Camus
