Stranger on Earth

In Season 1, Episode 9 of Six Feet Under , carefree prodigal son Nate learns to accept that everyone must die, regardless of their age and status. This may sound banal, but his coming to terms with so self-evident a fact shows that in the mad to-ing and fro-ing of everyday life there is little room for truth. I first became aware of death when I was still in kindergarten, a mere six-year-old whose world hadn’t extended beyond colouring books and plasticine models. Perhaps it was due to how everyone had been going on about a boy killed in an accident occurring on the main road separating my house and the kindergarten; perhaps it was the dead cat I had seen (and poked with a twig) by the pavement on the way to school; perhaps it was time – but I remember sitting in class (the teacher was showing us how to paint faces on eggshells) and having the most horrible premonition that my grandmother, who was the centre of my world at that time, was going to die. This upset me so much th...

Albert Camus’ The Outsider  (or The Stranger ) features on most high school reading lists. Teachers of English literature are attracted to it because of its slimness; it is compact and written in startlingly uncomplicated language; its protagonist – a man alienated from society - is someone teenagers have no trouble relating to. But is it really that straightforward? Those of us who teach it year after year – have we really felt the gravity of Camus’ landscape-changing message? The students who skim through it year after year – have they really understood Meursault’s stance as they claim? After all, one of the 20 th -century’s greatest philosophers, Jean-Paul Sartre, was completely floored by the novel when he first encountered it during World War II. (His biographer Annie Cohen-Solal says “his intellectual machinery jammed” [5].) In 1943, Sartre, having mulled over the ambiguity of the novel, published “A Commentary on The Stranger ” in the literary magazine Le Cahie...

For Whom the Bell Tolls (1940) is now remembered as Ernest Hemingway’s most enduring work, not least because of its detailed and personal account of the Spanish Civil War. Its laconic treatment of the universal subjects of friendship, sex, and love – essentials that give additional meaning to life in times of war – is the reason for its lasting appeal. The plot is crudely simple, like the characters’ motives. American Robert Jordan decides to do his part for the country he claims to love by working as a dynamiter for a republican guerrilla unit, and one day, owing to an assignment to blow up a bridge, he finds himself among a group of disparate rebels hiding high up in the pine forests of the Spanish Sierra. The novel records only three and a half days of Robert’s experience (and yet this is the longest Hemingway novel); at the end of the “adventure,” things go horribly wrong, as foreshadowed, and the reader is forced to leave the hero behind and move on – just like the re...

Almost half a lifetime went by between the compositions of “When You Are Old” and “Politics,” and yet it is startlingly clear from the diction of both poems that their writer, whose focus might have shifted from the personal to the political, was as preoccupied with the subject of (lost) youth in his last days as when he was in his thirties.   When You Are Old (from The Rose , 1893) When you are old and grey and full of sleep, And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep; How many loved your moments of glad grace, And loved your beauty with love false or true, But one man loved the pilgrim soul in you, And loved the sorrows of your changing face; And bending down beside the glowing bars, Murmur, a little sadly, how Love fled And paced upon the mountains overhead And hid his face amid a crowd of stars. In “When You Are Old,” the speaker is addressing a wo...

Is there a need for another analytical essay on F. Scott Fitzgerald’s enduring The Great Gatsby (1925)? One would be inclined to say no. There is, however, a need for a reminder of the novel’s transcendental nature: its ability to cut through generations and zeitgeists to reach the 21 st -century reader. Ernest Hemingway had the privilege of reading The Great Gatsby first-hand in Paris, and was so awed by its artistry that he considered it Fitzgerald’s best work. Generations of readers after Hemingway would come to share his view. What makes the work so fascinating that it is still being read today by high-school students and literary enthusiasts around the globe, despite its opaque language and style? The attraction of The Great Gatsby lies largely in its unabashed presentation of romanticism – the blood that runs through the veins of our imagination. The towering titular character is a man of unconditional dedication. Having lost his love to a wealthy rival, Jay ...

Insanity is never too far away when the modern man discovers to his shock and horror that the forces of the universe are never on his side. He may attempt to reconcile himself to this harrowing fact, but with every botched attempt he loses a piece of his sanity, up until that point of absolute inevitability where things must fall apart because the centre cannot hold. The French Nobel Prize winner of 2008, J.M.G. Le Clézio, shows us exactly how insanity and the failure of communication go hand in hand in the impressionistic The Interrogation ( Les Procès-Verbal, 1963). Following in the footsteps of the other French giants, Jean-Paul Sartre and Albert Camus, Le Clézio created a resonant piece about a man, aptly named Adam, who has lost his sanity and attempts to re-interpret the world on his own terms. Adam's world view is fragmented and irrational (to everyone but him); it is one that is predominated by destruction and death, by godlessness. He envisions a world where people l...