Mentioning The Plague last week inspired me (like everyone else on the planet apparently) to re-read my old copy of Albert Camus’ classic novel.
[Some spoilers ahead – if you haven’t read The Plague already I’d highly recommend it.]
I first read La Peste when I was at university, more than 30 years ago. Although chronologically the mid-1980s are slightly closer to the present day than to the late 40s, when the book was first published, culturally my student days firmly belonged to that period after the Second World War when the conflict was still a living memory. It was thus natural that I read the work as allegorical, specifically relating to the German occupation of France, which Camus had lived through, and which he played a central part in resisting. This was certainly how it was received when it came out, though the novel’s nuanced depiction of what had become a French national myth was not universally popular, and Camus was criticised by contemporaries, including Satre and de Beauvoir, for representing the conscious evil of Nazism as an apolitical pestilence.
The last month or so has, unsurprisingly, seen a flurry of articles attempting to relate The Plague to our current circumstances. Interestingly, the authors of most of these pieces seem to have taken the novel more or less at face value, as a story of men struggling to persevere in the face of an overwhelming epidemic, and have dismissed or overlooked the connection with the Occupation. I guess that is understandable, given our present concerns, though I think that it does reflect an underlying current evident in modern-day discourse; a tendency towards ahistorical analysis that is so focused on what we are personally experiencing right now that it cannot appreciate that the past isn’t always best understood when viewed through the prism of our latest preoccupations.
Having revisited the beleaguered town of Oran, so vividly depicted in The Plague, I can see how the book can be appreciated as a straightforward narrative, as, at that level, it is a gripping story. Camus masterfully builds a sense of dread as the unseen enemy relentlessly advances. The main characters may inhabit allegorical roles, but this does not obscure their individual humanity. Key scenes, such as the death of M. Othon’s son, or Grand’s grief outside the toy shop, are powerfully moving. The resolution is somewhat downbeat, but satisfying in its ambiguity. (I would like to have seen Dr Rieux reunited with his wife; this perhaps betrays my over-sentimental nature). There are some shortcomings; the complete lack of non-white characters in a story set in North Africa for example, or the way that the female characters are mostly ciphers who exist only to illuminate the male characters’ internal motivations. Overall though, after reading the novel one can appreciate why Camus was awarded the Nobel Prize for Literature in 1957.
Despite the seeming relevance to our present difficulties, I would still say that The Plague is essentially about France’s reckoning with the legacy of the Occupation, though Camus clearly broadens that out to encompass a theme familiar from his other work; the necessity of struggling against the absurdity of existence. The pestilence is life itself, with all its arbitrary cruelties, and the protagonists grapple with the question of how to live and act ethically, when everything is ultimately meaningless. Some, like Paneloux, look to God to guide them, though they are forced to acknowledge that His intentions are incomprehensible. (Secular orthodoxies, as Tarrou points out, are little more helpful). Tarrou and Rieux find purpose in doing what needs to be done to relieve suffering; the former is somewhat demoralised by the scale of the challenge, while the latter is sustained by focusing on the immediate tasks, and by his belief that humans are mostly decent (as exemplified by Grand, who, despite his own problems, makes his contribution uncomplainingly). Rambert (the character with whom I can most identify) is initially angry to find himself cast into the situation by misfortune, and makes plans to escape, but cannot bring himself to abandon his fellow citizens, and joins in the fight. (Rambert, unlike Rieux, is at least rewarded by seeing his wife again). Even Cottard, who accommodates to the new situation, and profits from it, is portrayed sympathetically, as motivated by fear and weakness rather than malice.
I’m not sure that the current crisis, significant though it is, has quite reached the level of seriousness of a world war, where individuals are forced to confront such pressing existential dilemmas. Certainly I have not felt moved to closely examine my ethical outlook, though perhaps that is because my response to events has been largely dictated by my professional circumstances, and I have not, as yet, been obliged to make any choices that are more difficult than usual. I hope that, if it comes to it, I will act as admirably as Dr Rieux, though I suspect than I will lean more heavily on ideology than Camus would have approved of.
In Simone de Beauvoir’s novel The Mandarins, Henri, the character based on Camus, recalls the intensity of wartime, when he “was busy writing his editorials, a revolver in his desk drawer.” I don’t know if I want to go through that much excitement (and it would obviously be better for all concerned if the situation was resolved without too much more social disruption), but perhaps this dislocation will do me some good in the long run, even if it is only to force me to make my own peace with the Absurd.
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