“Since we’re all going to die, it’s obvious that when and how don’t matter.”
— Albert Camus, The Stranger
The philosophy of Absurdism is a paradox that both ensnares and liberates. It tells of the human condition as an eternal struggle—a waltz upon the precipice of reason and chaos.
To discuss Absurdism without invoking the philosopher and author Albert Camus would be a grave omission.
Albert Camus is heralded as one of the paramount voices championing the philosophy of Absurdism, a doctrine deeply entwined with the contradictions that plague the human experience. To Camus, Absurdity is not merely a notion but a deep-rooted confrontation with the inherent dissonance between humanity’s search for meaning and the indifferent, silent universe it inhabits. Through his works, Camus explored this confrontation, seeking to illuminate the strange, often bewildering reality that life on this small planet—Earth—is neither singular nor exceptional in the grander scale of existence.
Albert Camus was born on 7 November 1913, in Mondovi, Algeria. A distinguished French novelist, essayist and playwright, he is celebrated for influential works such as L’Étranger (The Stranger, 1942), La Peste (The Plague, 1947) and La Chute (The Fall, 1956). Beyond his literary accomplishments, Camus was a passionate advocate for leftist causes. In recognition of his impact on literature, he was awarded the Nobel Prize in 1957 at the age of 44. During the 1930s, Albert Camus expanded his intellectual and artistic pursuits. He delved into French classics alongside contemporary authors like André Gide, Henry de Montherlant and André Malraux, and became a key figure among Algiers’ young left-wing intellectuals. Briefly, in 1934–35, he even joined the Algerian Communist Party. His passion for the arts also led him to write, produce, adapt and act for the Théâtre du Travail (later renamed Théâtre de l’Équipe), a company committed to bringing high-quality plays to working-class audiences. Camus’s love for the theatre endured throughout his life, although, somewhat paradoxically, his plays remain the least celebrated of his works. Yet Le Malentendu (Cross Purpose) and Caligula, first performed in 1944 and 1945, are notable contributions to the Theatre of the Absurd. Among his most lasting contributions to theatre are his stage adaptations of William Faulkner’s Requiem for a Nun (Requiem pour une nonne, 1956) and Fyodor Dostoyevsky’s The Possessed (Les Possédés, 1959).
In the two years leading up to World War II, Camus honed his journalistic skills at Alger-Républicain, working across roles such as editorial writer, sub-editor, political correspondent and book reviewer. He offered insightful reviews of some of Jean-Paul Sartre’s early works and penned a notable series examining social injustices faced by Muslims in the Kabylie region. These articles, later included in Actuelles III (1958) in abridged form, highlighted issues that would eventually ignite the Algerian War in 1954, positioning Camus as an advocate on humanitarian, rather than strictly ideological, grounds. He envisioned a balanced future for France in Algeria, one that acknowledged the reality of colonial injustices. Camus’ influence peaked during the final years of the French occupation and immediately following the Liberation, when he edited Combat, a Paris daily that had evolved from a Resistance paper largely run by him. He maintained an independent left-wing stance rooted in ideals of justice, truth and the necessity for a moral foundation in all political action. However, increasing political compromise on both sides of the spectrum led him to break ties with Combat in 1947.
Camus’ debut novel, The Stranger, completed before WWII and published in 1942, presents a keen exploration of 20th-century alienation. Its protagonist, a “stranger” sentenced to death, is condemned less for the actual crime of shooting an Arab than for his refusal to express anything beyond his genuine feelings or conform to society’s expectations. That same year, Camus published the philosophical essay Le Mythe de Sisyphe (The Myth of Sisyphus), where he sympathetically examines the nihilistic and “absurd” feelings of the era. Searching for a response to this nihilism, he wrote The Plague in 1947, a symbolic tale of characters in Oran who combat an epidemic not only with limited success but through an unyielding commitment to human dignity and solidarity. Here, Camus begins to shift from the theme of absurdity to the concept of moral and metaphysical “rebellion”. He later contrasts this ideal with historical revolution in The Rebel, 1951, which drew criticism from Marxist critics and theoreticians like Jean-Paul Sartre. His other significant works include the novel The Fall, 1956), with its clever use of Christian symbolism to critique secular humanist morality, and the short story collection L’Exil et le royaume (Exile and the Kingdom, 1957).
For Camus, Absurdity arises from the collision between human beings’ longing for clarity, purpose and unity, and a cosmos that offers no reciprocation of these desires. His literary works do not simply explain Absurdity; they invite readers to face it, to feel the weight of existing within a world that holds no ultimate answers. To live authentically, he argued, one must embrace this Absurdity—not by surrendering to despair, but by defiantly acknowledging life’s intrinsic contradictions while continuing to carve out moments of beauty, solidarity and freedom.
“Mother died today. Or maybe it was yesterday, I don’t know” — and so begins Albert Camus’ The Stranger. In this book, Camus introduces us to Meursault, a detached French Algerian whose indifferent response to life unsettles society’s expectations. The opening lines of the novel succinctly reveal Meursault’s detachment and existential ennui. As the narrative unfolds, we see Meursault traverse relationships and confront events without conventional emotion—most notably during his mother’s funeral, where he remains stoic amidst the sorrow surrounding him.
Meursault’s dispassion permeates his life. When his questionable friend Raymond asks for support after assaulting his mistress, Meursault agrees without hesitation or empathy. This pattern of indifference escalates to a significant moment when Meursault kills a man—referred to only as “the Arab”—not out of rage but due to the relentless heat and glare of the sun, which seem to overwhelm him as he encounters the man’s blade. This single act shifts the novel’s tone; in the second half, Camus explores Meursault’s arrest and trial, during which the court focuses more on his lack of grief at his mother’s funeral than on the actual killing. His seeming lack of morality labels him a threat to society, earning him the moniker “Monsieur Antichrist.”
As he awaits execution, Meursault reflects on life’s meaning—or lack thereof—and confronts a chaplain with fierce atheistic convictions, a moment that leads him to an epiphany and a sense of peace. Through Meursault’s journey, Camus delves into his philosophy of Absurdism, encouraging a recognition of life’s inherent meaninglessness and a rebellion through embracing life itself. Unlike existentialists who sought personal meaning, Camus saw value in accepting life’s absurdity without illusions. As he wrote, Meursault “does not play the game”, a refusal that condemns him in the eyes of society.
Written against a backdrop of personal and historical turmoil, The Stranger captures Camus’ questions of justice, identity and colonialism, especially as seen in the enigmatic portrayal of the victim simply as “the Arab”. This depiction might be taken as a commentary on French colonialism in Algeria, reflecting tensions that would later erupt in the Algerian War for independence.
Albert Camus’ The Myth of Sisyphus, a philosophical essay first published in 1942 as Le Mythe de Sisyphe, acts as a cornerstone in Camus’ exploration of Absurdism. This work not only solidified Camus’ literary and philosophical reputation but also laid the foundation of his ideas on the nature of the absurd, presenting a penetrating look at contemporary nihilism.
Camus contends that while life has no inherent meaning, humans nonetheless persist in their quest to find purpose, seeking answers in an indifferent universe. Camus presents the myth of Sisyphus—condemned by the gods to roll a stone uphill for eternity, only for it to tumble down each time—as an apt metaphor for humanity’s endless struggle against life’s inherent absurdity. For Camus, accepting this absurdity is the first essential step. Rather than succumbing to despair or contemplating escape through suicide, the only true rebellion lies in embracing the act itself, finding freedom in the repetition and joy in the exertion. In doing so, Camus argues, individuals define themselves, carving out meaning within a universe that offers none.
In contemplating Absurdism, Albert Camus offered not only a philosophy but a way of confronting life’s most profound challenges. His writings illuminate the paradox of existence—the quest for meaning in a silent, indifferent universe—and urge us to face this dissonance with both courage and defiance. Camus did not propose solutions or seek transcendence; instead, he called for rebellion, for embracing the absurd condition by fully living within it, accepting the freedom and responsibility that come with such an acknowledgment. Through his characters, Camus embodied a philosophy that finds value not in ultimate answers but in the authentic, often painful act of living. His Absurdism resonates as a call to live boldly, to search for beauty and connection in the fleeting moments of existence. In this way, Camus’ legacy endures, inviting us all to confront the mystery of life with open eyes and, perhaps, a quiet smile.