Bronner, Stephen Eric. Camus: Portrait of a Moralist. Minneapolis: University of Minnesota Press, 1999. The wages of sin is death” (Romans 6:23) and October’s pall follows September’s fire. Here the tree roots entangle sin and death. November is the last pause before winter renders final judgment on human activity. However, in this image of desolation is the seed of hope. The trees are a “thousand leafless crosses” that suggest a new intervention of God. The “lovely, silent, finished, clean” embrace of snow will quench the fire of the Fall. Spring will bring God’s compassion and “what mercy after such forgiveness?” Sources for Further Study

One of the most inspiring lessons to take away from Camus' philosophy is to face the modern world bravely. Camus' third response to the Absurd is to accept and embrace it. This way, we do not have the pressure of being accountable to another meaning and can choose how to live our lives. This is a concept Camus found freeing, and we should, too. Here you are made to continuously disagree with a person who goes more and more towards that abyss. You are made to define yourself in your disagreement, to define yourself as a negation. And by doing that you are the one who discovers the nausea of such an existence, even as the narrator finds ingenious and pathetic ways to avoid it. And you are the one who moves away from the abyss. Have you noticed that Amsterdam's concentric canals resemble the circles of hell? The middle-class hell, of course, peopled with bad dreams. When one comes from the outside, as one gradually goes through those circles, life — and hence its crimes — becomes denser, darker. Here, we are in the last circle. (Camus 23) Amsterdam Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.L’Homme révolté, or, The Rebel, is an essay from the “cycle of revolt” series I’ve already mentioned. Published in 1951, the essay focuses on the revolution of rebellion in modern society. Camus also aims to summarize and analyze the various theories he has written on up until this point. This is a very skinny little thing, and yet I did spend hours with it. Just letting its ideas sink in and its prose stay with me for a moment longer than necessary for basic understanding. Camus' novel The Stranger, sometimes known as The Outsider, follows the life of a man, Meursault, who lives in Algiers. He receives a telegram of his mother's death, and the story is about him dealing with the events that unfold. A theme throughout the book is the idea that there is no inherent purpose to human life. In the book, Camus points out that the only certainty in life is death since all human beings die. Throughout the novel, Meursault moves towards this realization, and by the end of the book, he finally grasps this. For much of the book, Meursault is indifferent to the world around him. Ultimately, he realizes the world has also been indifferent to him. The Plague

As the story goes, Meursault commits a crime and is then treated as an outcast. Its almost as if Camus wants the reader to dislike the main character, as he is depicted as being emotionless and detached. Camus writes in a very simple and easy to understand way, which is a trademark of his writing style. The first book by Camus was called “A Happy Death.” It wasn’t released until after his untimely passing in 1960, however, it was written when he was in his early twenties. According to a common definition, the book’s subject matter is how one can successfully create their own happiness and how time and money are related to that achievement. The author Camus examines his life in the book. His writing was influenced by memories of his battle with TB and his trips through Europe. At the end of every freedom, there is a sentence, which is why freedom is too heavy to bear, especially when you have a temperature, or you are grieving, or you love nobody.”The second choice, in Camus's view, is religion. The religious solution offers a source of meaning beyond the Absurd. However, Camus refers to this option as philosophical suicide since it does not involve reason. Camus claims this solution needs to be more convincing and even fraudulent.

Camus, Albert. (2004). The Plague, The Fall, Exile and the Kingdom, and Selected Essays. Trans. Justin O'Brien. New York: Everyman's Library. ISBN 1-4000-4255-0 You may be tempted to assume, due to everything else about me and what I do and who I am as a person, that this is sheer laziness on my part. That because I do not enjoy "putting" "effort" "into" "things," I appreciate when a book takes me an hour or two to read. Published in 1956, “The Fall” by Albert Camus belongs to the genre of philosophical novels. In this work, the French existentialist tried to answer the eternal question: “What is the meaning of human existence”? To answer, he chose the form of a monologue, coming from the lips of former Parisian lawyer Jean-Baptiste Clamence and the current “judge on repentance.” Confession of the hero is a kind of analysis of the state of the contemporary author of society.The Fall can be seen as a reflection on Camus' existentialist philosophy. Much like his earlier works, such as The Stranger and The Myth of Sisyphus, this novel explores the themes of the absurdity of life and the search for meaning in an inherently meaningless universe. Camus is known first and foremost for his writings, but he was also a French Resistance fighter and a philosopher. He was born and grew up in Algeria, a French colony at the time. Camus’ early life greatly influenced his writings, and he was famously anti-colonialist. He worked for a leftist newspaper in Algiers until it was eventually shut down, and then decided to move to Paris in 1940. The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year. Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work. Royce, Barbara C. (1966). "La Chute and Saint Genet: The Question of Guilt". The French Review 39 (5): 709–716.