By David Carroll

In those unique readings of Albert Camus' novels, brief tales, and political essays, David Carroll concentrates on Camus' conflicted courting along with his Algerian heritage and unearths very important serious insights into questions of justice, the consequences of colonial oppression, and the lethal cycle of terrorism and counterterrorism that characterised the Algerian conflict and maintains to floor within the devastation of postcolonial wars at the present time.

During France's "dirty conflict" in Algeria, Camus known as for an finish to the violence perpetrated opposed to civilians by means of either France and the Algerian nationwide Liberation entrance (FLN) and supported the construction of a postcolonial, multicultural, and democratic Algeria. His place was once rejected by way of such a lot of his contemporaries at the Left and has, satirically, earned him the name of colonialist sympathizer in addition to the scorn of vital postcolonial critics.

Carroll rescues Camus' paintings from such feedback via emphasizing the Algerian dimensions of his literary and philosophical texts and by means of highlighting in his novels and brief tales his realizing of either the injustice of colonialism and the tragic nature of Algeria's fight for independence. through refusing to just accept that the sacrifice of blameless human lives can ever be justified, even within the pursuit of noble political ambitions, and through rejecting uncomplicated, ideological binaries (West vs. East, Christian vs. Muslim, "us" vs. "them," solid vs. evil), Camus' paintings bargains a substitute for the stark offerings that characterised his bothered occasions and proceed to outline our personal.

"What they did not like, used to be the Algerian, in him," Camus wrote of his fictional double in The First Man. not just should still "the Algerian" in Camus be "liked," Carroll argues, however the Algerian dimensions of his literary and political texts represent a vital a part of their carrying on with curiosity. Carroll's analyzing additionally indicates why Camus' severe point of view has a lot to give a contribution to modern debates stemming from the worldwide "war on terror."

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Additional info for Albert Camus the Algerian: Colonialism, Terrorism, Justice

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4 The picture of pieds-noirs that emerges from Nora’s study, then, is of French men and women living a deeply divided life. In reality, they live in a French colony in which the overwhelming majority of inhabitants are Arab or Berber, but in their imaginations they live in a world inhabited exclusively by French pieds-noirs. indb 22 2/6/07 9:52:56 AM The Place of the Other 23 abs. Because of the colonial situation, they act simply as if Arabs did not exist” (184). They thus relate to Arabs not as individuals but as anonymous, interchangeable components of the collectivity referred to as “les Arabes” or “ les Musulmans,” which Nora treats as being symptomatic of their racism and hatred of the colonized Other.

But in the last years of World War II, the Algeria of The Stranger was for Sartre and other readers not the site of colonial oppression but of the possibility of freedom and revolt. Sartre’s “existentialist” interpretation of The Stranger had an important influence on readers of the novel and the essay for decades. It only began to be abandoned, although rarely if ever directly questioned, long after Algerian independence, with the growth of postcolonial cultural criticism in the last few decades.

My fate was being determined without asking for my say. From time to time I felt like interrupting everyone and saying: “After all, who is being accused here anyway? It’s a serious matter to be the accused. ” However, on second thoughts, I had nothing to say. (124, trans. mod. [1195]) Everyone has something to say about the person being judged except that person himself. And when he has something to say, it is considered irrelevant: no one listens and no one understands what he is saying. His words are given no weight, his explanations, such as they are, are ridiculed and ignored.

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