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Anthony Rizzuto - Camus Imperial Vision

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title Camus Imperial Vision author Rizzuto Anthony publisher - photo 1

title:Camus' Imperial Vision
author:Rizzuto, Anthony.
publisher:Southern Illinois University Press
isbn10 | asin:0809310023
print isbn13:9780809310029
ebook isbn13:9780585186436
language:English
subjectCamus, Albert,--1913-1960--Philosophy, Existentialism.
publication date:1981
lcc:B2430.C354R59eb
ddc:194
subject:Camus, Albert,--1913-1960--Philosophy, Existentialism.
Page iii
Camus' Imperial Vision
By Anthony Rizzuto
Foreword by Quentin Anderson
SOUTHERN ILLINOIS UNIVERSITY PRESS
Carbondale and Edwardsville
Page iv
Copyright 1981 by Southern Illinois University Press
ALL RIGHTS RESERVED
Printed in the United States of America
Edited by Dan Seiters
Designed by Bob Nance, Design for Publishing
Production supervised by Richard Neal
Works by Albert Camus
quoted with permission from Editions Gallimard.
Page v
This book is lovingly dedicated
to my wife, DORA.
Page vii
Contents
Foreword
ix
1
The Imperial Vision
1
2
Commitment and Strategies for Innocence
29
3
Camus' Discovery of Man
51
4
From Revolution to Rebellion
85
5
Camus Anti-Camus: A Final Accounting
108
Bibliography
139

Page ix
Foreword
By Quentin Anderson
In this trenchant book Anthony Rizzuto traces the path, brilliant as a comet's arc, along which Camus moved from the desolate isolation of L'Etranger to the embrace of the human condition in L'Homme Rvolt, La Chute, and succeeding works. Its stages are marked by quotations from notebooks, novels, and stories that have an undiminished power to shock us into awareness: "Quand on n'a pas de caractre il faut bien se donner une mthode"which comes close to being an epigraph for the intellectual behavior of the 1980s. Rizzuto never allows us to forget that we are dealing with an artist who earned such clarity as this through an unremitting struggle with himself. Camus never bared his soul or took intellectual holidays. Only by setting himself at a remove from us could he make us privy to states of the human spirit that seem as remote as the starsor as the godhead to which he originally aspired. What in the end Camus wished to represent was, Rizzuto tells us, "the broken and cumulative curves of a man's inhabited life." In no other man of the writer's period does exquisitely executed imaginative accomplishment so closely follow the movement of public events,
Page x
while at the same time rigorously preserving that space which enables reasoned reflection and representation.
This book makes it abundantly clear that it was Camus' original intellectual and emotional horizon that prepared him for membership in the Communist party and that this in turn was the basis for his realization that the relation between abstraction and aggression he found in himself was continuous with the abstraction and aggression manifested in totalitarian parties and states. Camus' return upon himself, his repossession not only of his past, but of the very idea that he had a past, led him to say, "Jouir de soi est impossible; je le sais, malgr les grands dons qui sont les miens pour cet exercice," and to go on to demonstrate the claim to imperial vision inherent in the politics of Sartre and others.
The man who made these things plain in the 1950s committed the grossest impiety many people were able to imagine. An attack on their collective hope, no matter how outrageous the behavior of the country entrusted with its realization, was felt as an attack on the very self hood of those who followed Stalin, who clung to the conviction that one must not attack the vessel of collective hope even though it was filled with blood.
The cloud which thereafter obscured Camus' fame resulted from this impiety: his equation of impersonality with violence. It was a cloud that covered others, and led, for example, to attacks on George Orwell in England and Lionel Trilling in the United States. The assertion that the freedom of individual minds depended upon their granting a like freedom to others became an offense against the collective hope. Yet as our times ever more insistently demonstrate the connection between terrorism and abstraction, Camus' uniquely cogent representation of the impulse to violence which characterizes intellectual imperialism takes on ever more force. Rizzuto offers excellent grounds for admiring the writer who at once plumbed himself and his times; he has in doing so issued a sharp warning to his countrymen.
Page xi
Acknowledgments
A book is a collective as well as an individual enterprise. Raymond Gay-Crosier, Paul Viallaneix, Germaine Bre, and Quentin Anderson are teachers and authors who have set the finest examples of scholarship and I wish to acknowledge the help and encouragement they willingly gave to me.
I have also been fortunate here at the State University of New York at Stony Brook in having three friends and colleagues, Mark Whitney, Frederick Brown, and Carol Blum, who read the manuscript in various stages of preparation and who offered their invaluable comments and criticisms. They deserve more thanks than I can express.
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