By Albert Camus
'Je suis sure qu'on ne peut être heureux sans argent. Voilà tout. Je n'aime ni l. a. facilité ni le romantisme. J'aime à me rendre compte. Eh bien, j'ai remarqué que chez certains êtres d'élite il y a une sorte de snobisme spirituel à croire que l'argent n'est pas nécessaire au bonheur. C'est bête, c'est pretend, et dans une certaine mesure, c'est lâche.'
En 1938, Albert Camus abandonne son most well known roman, los angeles mort heureuse, pour commencer à rédiger L'étranger. Ce most advantageous projet romanesque, publié à titre posthume, est riche pourtant de descriptions lumineuses de los angeles nature et de réflexions anticonformistes. Le héros, Meursault, recherche désespérément le bonheur, fût-ce au prix d'un crime. Son parcours est nourri de los angeles jeunesse difficile et ardente de Camus ; ses choix et ses pensées annoncent les récits et les essais à venir.
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Her mother is her rival and her enemy, and her father turns his hatred of women against his daughter. Antonia's passivity is stressed throughout the novel; as a young woman she sleeps during the day as well as at night, waiting to be awakened. She has no control over her own life and makes no effort to take charge. She is never self-defined, always other-defined, even though she is perceptive enough to know that these otherdefinitions are false. Purely defensive in her reactions to injury, she retires deeper and deeper into her shell.
Knowing what is due to the heroine of a novel, she feels sure she will marry Happily ever after? The consequences of acceptance 47 Marion and live happily ever after. But Marion is no reformed Rochester, Copthorne Manor is crumbling away and drunken Tom and fearsome Nanny remain. Cassandra has failed to gain her independence, as Jane Eyre did, and her flight from Copthorne Manor does not lead to growth but is a return to her beginning and to the enclosing comforts of Mrs Turner's sitting room. Like Ellie in The Doves of Venus, she has chosen marriage as a way out of the only other fate that seems to await her, that of a lonely schoolmistress.
A girl had to tread carefully, creating her own hedge of briars, thick enough to deter the seducer but not so thick as to frighten off the desired lover. The freedom of the young unattached woman had its dangers, for she herself had now to decide between the true and the false lover, without having the worldly experience her parents possessed. Even when young women continued to live at home before marriage, most now had jobs and expected to be able to mix freely with both sexes. Despite this wider field of action, ideas of passivity, or deferring to the male, of retaining 'femininity' while independent, meant that women could not obviously make the first approaches, nor take the initiative in lovemaking.
La Mort heureuse by Albert Camus