Quotes about Albert Camus

10 Sourced Quotes

Albert Camus wrote that the only serious question is whether to kill yourself or not. Tom Robbins wrote that the only serious question is whether time has a beginning or an end. Camus clearly got up on the wrong side of the bed, and Robbins must have forgotten to set the alarm. There is only one serious question. And that question is: "Who knows how to make love stay?".

And in such a world of conflict, a world of victims and executioners, it is the job of thinking people, as Albert Camus suggested, not to be on the side of the executioners.

The Theatre of the Absurd strives to express its sense of the senselessness of the human condition and the inadequacy of the rational approach by the open abandonment of rational devices and discursive thought. While Sartre or Camus express the new content in the old convention, the Theatre of the Absurd goes a step further in trying to achieve a unity between its basic assumptions and the form in which these are expressed. In some senses, the theatre of Sartre and Camus is less adequate as an expression of the philosophy of Sartre and Camus — in artistic, as distinct from philosophic, terms — than the Theatre of the Absurd.

I could see clearly that this problem could only be solved on the individual and personal level; political revolt is irrelevant. Both Camus and Sartre had been neatly hog-tied by their earlier radicalism. Camus came to see that rebellion is a political roundabout that revolves back to the same old tyranny; too ashamed to admit that he had outgrown his leftism, he found himself in an intellectual cul-de-sac. Sartre accused Camus of being a reactionary; but he paid for his own refusal to reexamine his political convictions by congealing into a grotesque attitude of permanent indignation, shaking his fist at some abstract Authority. Where politics is concerned, he seemed determined to be guided by his emotions.

"Absurd" originally means "out of harmony," in a musical context. Hence its dictionary definition: "out of harmony with reason or propriety; incongruous, unreasonable, illogical." In common usage, "absurd" may simply mean "ridiculous," but this is not the sense in which Camus uses the word, and in which it is used when we speak of the Theatre of the Absurd. In an essay on Kafka, Ionesco defined his understanding of the term as follows: "Absurd is that which is devoid of purpose.... Cut from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless."

Camus said there is only really one serious philosophical question, which is whether or not to commit suicide. I think there are four or five serious philosophical questions:
The first one is: Who started it?
The second is: Are we going to make it?
The third is: Where are we going to put it?
The fourth is: Who's going to clean up?
And the fifth: Is it serious?

Rainer [protagonist in the novel], who is reading The Outsider by Camus, says he would like to put the hostility of the world behind him. Once your hope for something better is taken from you, then at last you have the present all in your hand. Then you yourself are reality. Others are extras. When Rainer contemplated san evening he says that evening is melancholy ceasefire where all life has come to and end.

Elfriede Jelinek

Something about the fact that I made some contribution to either my country, or those who were less well off. I think back to what Camus wrote about the fact that perhaps this world is a world in which children suffer, but we can lessen the number of suffering children, and if you do not do this, then who will do this? I'd like to feel that I'd done something to lessen that suffering.

Robert F. Kennedy

You know, I've been thinking: all the women in the books you like — Sartre and Camus and all that — they don't really exist. Not as people. They're only there to wait for the men. To love them and be loved back or not — mostly not; to be beaten up or killed; to appear as a face on the wall of Meurseault's cell—

The principle behind the cinema, like that behind all the arts, rests on a choice. It is, in Camus' words, "the revolt of the artist against the real."
If one holds to this principle, what difference can it make by what means reality is revealed? Whether the author of a film seizes on the real in a novel, in a newspaper story or in his own imagination, what counts is the way he isolates it, stylizes it, makes it his own.

Michelangelo Antonioni