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Book Title: Η θάλασσα σε απόσταση αναπνοής|
Date of issue: October 2000
ISBN: No data
ISBN 13: No data
The author of the book: Albert Camus
Format files: PDF
The size of the: 697 KB
Read full description of the books Η θάλασσα σε απόσταση αναπνοής:At only 22 pages long, this is a short and sweet read. This a collection of two essays by Camus: The Sea Close By and Summer in Algiers. The former is about the sea whilst the latter is about the city and so these two essays compliment each other very well in this short collection.
This little book is absolutely beautiful with quote after quote after quote that will make your heart swell. I have to admit, I didn’t understand what Camus was getting at sometimes but this didn’t bother me because the way in which he expresses himself is just sublime. In order to truly appreciate this piece of work, I imagine one would have to read it incredibly slowly and carefully so as not to miss one single adjective. Whilst reading this, I felt like I had been transported to another world because Camus descriptions are so real and so beautiful.
For me, reading this was definitely more style over substance. I don’t feel that these works had a particular aim or purpose other than for Camus to put his thoughts down, and my, what beautiful thoughts. Both of these essays are observations, not stories, so you’re really just following a trail of thought.
All in all, I wouldn’t expect much more from this little book than 22 pages of the most beautiful writing you’ve ever read. If writing in books wasn’t one of my pet peeves, I would’ve definitely highlighted passages of this book so that I could remember my favourite parts. That said, I probably would’ve highlighted the entire novel. The Sea Close By is a lovely little booklet that one could spend a summer afternoon devouring. It’s also the sort of book that you can pick up time and time again, flick to a random page, read a random passage and just sigh at the beauty of life. Highly recommended.
Read information about the authorAlbert Camus (1913-1960) was a representative of non-metropolitan French literature. His origin in Algeria and his experiences there in the thirties were dominating influences in his thought and work. Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest in philosophy (only chance prevented him from pursuing a university career in that field), he came to France at the age of twenty-five. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation was a columnist for the newspaper Combat. But his journalistic activities had been chiefly a response to the demands of the time; in 1947 Camus retired from political journalism and, besides writing his fiction and essays, was very active in the theatre as producer and playwright (e.g., Caligula, 1944). He also adapted plays by Calderon, Lope de Vega, Dino Buzzati, and Faulkner's Requiem for a Nun. His love for the theatre may be traced back to his membership in L'Equipe, an Algerian theatre group, whose "collective creation" Révolte dans les Asturies (1934) was banned for political reasons.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds Camus's notion of the absurd and of its acceptance with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction". Meursault, central character of L'Étranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation. Dr. Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms Camus's words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them". Other well-known works of Camus are La Chute (The Fall), 1956, and L'Exil et le royaume (Exile and the Kingdom), 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He was a stylist of great purity and intense concentration and rationality.
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