The Stranger

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Born in Algeria in 1913, Albert Camus published The Stranger–now one of the most widely read novels of this century–in 1942. Celebrated in intellectual circles, Camus was awarded the Nobel Prize for Literature in 1957. On January 4, 1960, he was killed in a car accident.

出版者:Vintage
作者:Albert Camus
出品人:
页数:144
译者:Matthew Ward
出版时间:1989-3-13
价格:USD 12.95
装帧:Paperback
isbn号码:9780679720201
丛书系列:Vintage Camus
图书标签:
  • AlbertCamus 
  • 小说 
  • 哲学 
  • 法国 
  • 英文原版 
  • 外国文学 
  • 文学 
  • 英文 
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The Stranger is not merely one of the most widely read novels of the 20th century, but one of the books likely to outlive it. Written in 1946, Camus's compelling and troubling tale of a disaffected, apparently amoral young man has earned a durable popularity (and remains a staple of U.S. high school literature courses) in part because it reveals so vividly the anxieties of its time. Alienation, the fear of anonymity, spiritual doubt--all could have been given a purely modern inflection in the hands of a lesser talent than Camus, who won the Nobel Prize in 1957 and was noted for his existentialist aesthetic. The remarkable trick of The Stranger, however, is that it's not mired in period philosophy.

The plot is simple. A young Algerian, Meursault, afflicted with a sort of aimless inertia, becomes embroiled in the petty intrigues of a local pimp and, somewhat inexplicably, ends up killing a man. Once he's imprisoned and eventually brought to trial, his crime, it becomes apparent, is not so much the arguably defensible murder he has committed as it is his deficient character. The trial's proceedings are absurd, a parsing of incidental trivialities--that Meursault, for instance, seemed unmoved by his own mother's death and then attended a comic movie the evening after her funeral are two ostensibly damning facts--so that the eventual sentence the jury issues is both ridiculous and inevitable.

Meursault remains a cipher nearly to the story's end--dispassionate, clinical, disengaged from his own emotions. "She wanted to know if I loved her," he says of his girlfriend. "I answered the same way I had the last time, that it didn't mean anything but that I probably didn't." There's a latent ominousness in such observations, a sense that devotion is nothing more than self-delusion. It's undoubtedly true that Meursault exhibits an extreme of resignation; however, his confrontation with "the gentle indifference of the world" remains as compelling as it was when Camus first recounted it. --Ben Guterson

From Library Journal

The new translation of Camus's classic is a cultural event; the translation of Cocteau's diary is a literary event. Both translations are superb, but Ward's will affect a naturalized narrative, while Browner's will strengthen Cocteau's reemerging critical standing. Since 1946 untold thousands of American students have read a broadly interpretative, albeit beautifully crafted British Stranger . Such readers have closed Part I on "door of undoing" and Part II on "howls of execration." Now with the domestications pruned away from the text, students will be as close to the original as another language will allow: "door of unhappiness" and "cries of hate." Browner has no need to "write-over" another translation. With Cocteau's reputation chiefly as a cineaste until recently, he has been read in French or not at all. Further, the essay puts a translator under less pressure to normalize for readers' expectations. Both translations show the current trend to stay closer to the original. Marilyn Gaddis Rose, SUNY at Binghamton

Copyright 1988 Reed Business Information, Inc. --This text refers to the Hardcover edition.

Review

“The Stranger is a strikingly modern text and Matthew Ward’s translation will enable readers to appreciate why Camus’s stoical anti-hero and ­devious narrator remains one of the key expressions of a postwar Western malaise, and one of the cleverest exponents of a literature of ambiguity.” –from the Introduction by Peter Dunwoodie

From the Hardcover edition.

Description

Through the story of an ordinary man unwittingly drawn into a senseless murder on an Algerian beach, Camus explored what he termed "the nakedness of man faced with the absurd." First published in 1946; now in a new translation by Matthew Ward.

Language Notes

Text: English (translation)

Original Language: French

From the Inside Flap

Through the story of an ordinary man unwittingly drawn into a senseless murder on an Algerian beach, Camus explored what he termed "the nakedness of man faced with the absurd." First published in 1946; now in a new translation by Matthew Ward.

具体描述

读后感

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每隔些年读《局外人》都会有新收获,大概这是判断一本书能不能列为经典的标准。 1. “活在当下”既积极也消极。好的部分,那就是容易在日常生活里获得快乐。比如默尔索下班后和同事一起追着卡车跑,气喘吁吁,只为了去听卡车链条哗啦声与内燃机噼啪声。比如沿着码头傍晚散步,...  

评分

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每隔些年读《局外人》都会有新收获,大概这是判断一本书能不能列为经典的标准。 1. “活在当下”既积极也消极。好的部分,那就是容易在日常生活里获得快乐。比如默尔索下班后和同事一起追着卡车跑,气喘吁吁,只为了去听卡车链条哗啦声与内燃机噼啪声。比如沿着码头傍晚散步,...  

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在书店工作期间,最快乐的时候,便是与对胃口的人聊起彼此都喜欢的书的时候。 比如某天看到有姑娘在向她的朋友推荐加缪的《局外人》,边上的我憋不住接了一句:“这本书我也很喜欢。我曾经在三个月里连看了三遍,包括两个译本,仍意犹未尽,想再去看郭宏安的译本。” 那姑娘叫...  

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人常常会在一些很平凡的时候静下心来,停下脚步思考,看书,学习,探索生命的意义。 当看到一篇教人如何在更快更高效读书的文章后,我开始陷入质疑,读书真的需要那样争分夺秒和仪式感吗?许多名人确实都把读书列入每日计划中,更有甚者比如李欣频曾在一年的365天里每天读一本...  

用户评价

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仔细想想国人并没有丧的传统,所以翻译《人间失格》或者《局外人》的时候,字里行间都在“强说愁”,大概可以形容之为“尬丧”。英译本就完全不同,不需要太多形容词,只需单纯平淡叙事就能窥见主人公性情,顺畅得很。

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一切也是太熱的原故。

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半夜看完了第一章,好适合又困又丧的时候看的书啊。就是那种特别疲乏的感觉,僵硬的语句,对世界的抽离感,规则和生理上感受的违背。真的超级丧。好多事情在主角眼中都是doesn’t matter,但是社会作出很多联想并且帮他define了他是什么样的人,就好像一个巨型游戏,每个人都要follow rules。之后在court上有种强烈的抽离感,my fate is decided without anyone so much as asking my opinions,最后在监狱里沉思用了machinery这个词真的好精准!但是说实话这个主角自己也太不争取了,communication难道不是你的job to convey your ideas?其实读的时候并不是很enjoy。#二刷

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两个晚上枕边时间看完了。大学时看的中文版,那时那地的那种迷恋已不在,曾经以为的只有自己才是同样的"异乡人"的傻乎乎的自怜也早已不在。因为其实每个人都是stranger,都是深渊、毒药和地狱。

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恰恰就在这个不寻常的星期读了这个有意思的小故事。Meursault身上依稀能看见自己的影子,总是悠然自若“理智地“控制自己的情绪。从不被周围人的评论、道德审判、宗教约束的自由精神。却偏偏碰上了一件没法解释的暂时性完全失控。我和Meursault一样,完全的失控,却并不后悔。ps卡缪是老陀的崇拜者吧,为什么几次提到Meursault 案子审理后还有一起杀父案?

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