March 2, 2003

"The Fall" by Albert Camus; It begins with a conversation between two men at an Amsterdam bar. The entire book is told in dialogue. Well, actually monologue. Jean-Baptiste Clamence, a once successful lawyer who now serves as judge-penitent to all willing to lend an ear, speaks the only words. If a word is on the page, Clamence speaks it. His fellow interlocutor is given life only through the reactions and responses of our speaker.

Clamence approaches the man to serve as translator in the acquisition of gin. Small talk leads to Clamence revealing his life, telling all about his days as a lawyer and the moral decisions he made regarding the innocence of men. The conversation, which spans the course of five days and almost as many locations, is really more of a confession. Clamence unburdens his soul, admitting that all the good he had done in life wasn't for the benefit of others, but for his own pleasure. His only true love had been for himself. He had lost himself in debauchery; living only for momentary pleasure, using women for his own needs and tossing them away. He tells of his role in the theft of a famous painting. He admits to ignoring the screams of a drowning woman. Clamence tells all this freely. He is penitent. He is also hopeful that his acquaintance will return the favor. That is Clamence's existence now; confessing his sins to others so that he can in turn pass judgment on them.

"The Fall" is Camus at his best. He takes a simple idea, a conversation in a bar, and uses it to illustrate the principles of existentialism and explore the question of man's true nature. Is any man innocent? Who among us is capable of determining such a distinction?

And if the theme itself weren't enough, Camus' use of narrative is ingenious. This book should be experienced for its philosophy as well as its craft.

RATING:

"Exile and the Kingdom" by Albert Camus: As much as 70 Proof loves Mr. Camus, and I think our devotion is a matter of public record, we weren't exactly overwhelmed by this collection of six short stories.

Each tale is a take on man's spiritual exile from the world around him. The main characters are seeking a kingdom of their own; freedom from their circumstances and nature. That's great and all, but none of the stories really have much life. They're all just kind of there. None of the characters are particularly memorable and the writing itself is below Mr. Camus' usual standard. The whole thing lacks any real snap.

Of the lot, the two best stories are "The Silent Men" and "The Artist at Work." The coopers of a small barrel factory are the focus of the former. When a work stoppage fails to achieve desired results, and the employees are given a "take it or leave it" offer, the men return to work but refuse to speak to their boss; exercising their own brand of power through silence. Little do the men know that their employer is desperately trying to control another situation at home beyond his command.

In "The Artist at Work," a painter finds false fame only to lose his dedication to art. He eventually removes himself from all distractions, building a loft in his home so as to stay above his family, friends, and phony admirers. He works tirelessly in his perch, refusing to come down for meals or even to see his wife and children. The result of his seclusion is one lone word inscribed on canvas.

Other stories included are "The Adulterous Woman," which tells of a wife leaving her husband's bed to spend the night in the desert; "The Renegade," a bizarre take on religion; a prisoner chooses jail over freedom when given the choice by his captor in "The Guest," and "The Growing Stone" features a foreigner seeking spiritual redemption through the customs of a remote Brazilian village.

If you're really into Camus, then by all means give "Exile and the Kingdom" a go. But if you're new to the man's work, your time will be better spent with the likes of "The Fall," "The Plague," or "The Stranger."

RATING: