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Literary and Philosophical Essays, by Jean-Paul Sartre
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- Sales Rank: #1478325 in Books
- Published on: 1955
- Format: Import
- Number of items: 1
- Binding: Hardcover
- 239 pages
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THIRTEEN ESSAYS ON CONTEMPORARY WRITERS, AND SEVERAL PHILOSOPHICAL TOPICS
By Steven H Propp
Jean-Paul Sartre (1905-1980) was a French existentialist philosopher, playwright, novelist, and political activist, who wrote many other books such as Being and Nothingness, Existentialism....& Human Emotions, The Transcendence of the Ego, Search for a Method, Critique of Dialectical Reason, The Emotions: Outline Of A Theory, The Psychology of Imagination, Between Existentialism and Marxism, etc.
This 1955 collection of essays includes essays on Francois Mauriac; Albert Camus; William Faulkner; John Dos Passos, and well as on “American Cities,” “Cartesian Freedom,” “Materialism and Revolution,” etc.
He says in the essay on Mauriac “It occurred to me… that Christian writers, by the very nature of their belief, have the kind of mentality best suited to the writing of novels. The religious man is free. The supreme forbearance of the Catholic may irritate us, because it is an acquired thing. If he is a novelist, it is a great advantage. The fictional and the Christian man, who are both centres of indeterminacy, do have characters, but only in order to escape from them. They are free, above and beyond their natures, and it they succumb to their natures, here again, they do so freely. They may get caught up I psychological machinery, but they themselves are never mechanical.” (Pg. 8)
He states, “La Fin De La Nuit (The End of the Night) is not a novel. How can anyone call this angular, glacial book, with its analyses, theatrical passages, and poetic meditations, a ‘novel’? How can anyone confuse these bursts of speed and violent jamming of the brakes, these abrupt starts and breakdowns, with the majestic flow of fictional time? How can anyone be taken in by this motionless narrative, which betrays its intellectual framework from the very start… It is, at most, a collection of signs and intentions. M. Mauriac is not a novelist.” (Pg. 24)
He says of Camus’ The Stranger: “His hero … belongs to a very particular species for which the author reserves the word ‘absurd.’ But in M. Camus’ work this word takes on two very different meanings. The absurd is both a state of fact and the lucid awareness which certain people acquire of this state of fact. The ‘absurd’ man is the man who does not hesitate to draw the inevitable conclusions from a fundamental absurdity.” (Pg. 26-27) He adds, “M. Camus shows off a bit by quoting passages from Jaspers, Heidegger and Kierkegaard, whom, by the way, he does not always seem to have understood.” (Pg. 28)
He begins the essay on Dos Passos: “A novel is a mirror. So everyone says. But what is meant by READING a novel? It means, I think, jumping into the mirror. You suddenly find yourself on the other side of the glass, among people and objects that have a familiar look. But they merely look familiar. We have never really seen them. The things of our world have, in turn, become outside reflections. You close the book, step over the edge of the mirror and return to this honest-to-goodness world, and you find furniture, gardens, and people who have nothing to say to you. The mirror that closed behind you reflects them peacefully, and now you would swear that art is a reflection.” (Pg. 94) He concludes the essay, “Dos Passos’ world---like those of Faulkner, Kafka and Stendhal---is impossible because it is contradictory. But therein lies its beauty. Beauty is a veiled contradiction. I regard Dos Passos as the greatest writer of our time.” (Pg. 103)
In an essay on “Individualism and Conformism in the United States,” he states, “I have said enough, I hope, to give some idea of how the American is subjected, from the cradle to the grave, to an intense drive to organize and Americanize him, and how he is first depersonalized by means of a constant appeal to his reason, civic sense and freedom, and how, once he has been duly fitted into the national life by professional associations and educational and other edifying organizations, he suddenly regains consciousness of himself and his personal autonomy. He is then free to escape into an almost Nietzschean individualism, the kind symbolized by the skyscrapers in the bright sky of New York. In any event, it is not based on our kind of individualism, but on conformism. Personality must be won. It is a social function or the affirmation of society.” (Pg. 113)
He suggests, “A man cannot be more of a man than other men because freedom is similarly infinite in each individual. In this sense, no one has shown better than Descartes the connection between the spirit of science and the spirit of democracy, for universal suffrage cannot be founded on anything other than this universal faculty of saying yes or saying no.” (Pg. 183-184) He continues, “The free man is alone in the face of an absolutely free God. Freedom is the foundation of being, its secret dimension. Freedom, in this rigorous system, is the inner meaning and the true face of necessity.” (Pg. 196)
He argues, “I realize now that materialism is a metaphysics hiding positivism; but it is a self-destructive metaphysics, for by undermining metaphysics out of principle, it deprives its own statements of any foundation.” (Pg. 201)
Passionate, controversial, and sometimes just ‘bi_chy,’ these essays will be of interest to those studying Sartre.
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