Albert Camus was nearly as unfaithful as Jean-Paul Sartre . . . to atheism.
This should not be especially surprising to any semi-conscious reader of his novels. Despite his good existentialist intentions Camus could never really get beyond good and evil. Most of his literary works collapse under the weight of trying to cover up their origins in, and direct debts to, classical Christian doctrines, especially Original Sin.
It’s as if he keeps trying to roll a rock to seal off the tomb, only to find it rolled away every darn morning. Just look at the plots of The Fall, The Plague, and The First Manand tell me God shouldn’t sue for copyright infringement upon the biblical narrative.
The two talked about Christianity constantly and it got to the point where Camus asked to be re-baptized, only to be turned down. Today’s Methodist ministers are nothing like the hardcore Methodist ministers of yesteryear!
Camus was still actively courting the Christian faith when he was cut down in a car accident. We don’t know how things would have turned out if Camus had lived, however, as this book recounts, he thought he was heading for a reversion. Actually, he was already there.
I don’t believe in an interventionalist God (see video below).
“Levering compellingly argues for the legitimacy of a type of biblical interpretation once prevalent among the Fathers of the Church and medieval theologians, one that includes a participatory encounter with the divine. . . . Written from a Roman Catholic perspective, the volume will appeal to anyone interested in biblical interpretation. While directed toward scholars, the book is nonetheless accessible to the intelligent lay reader.”
Finally, I also purchased the essay collection The Christian Platonism of Simone Weil, which features essays by some of our greatest living theologians, people like David Tracy, Cyril O’Regan, and Louis Dupré. If you’re not familiar with Weil then here’s what Czeslaw Milosz, one of her first translators, said about her and his own friend Camus, all the while taking potshots at that villain Sartre:
“Violent in her judgments and uncompromising, Simone Weil was, at least by temperament, an Albigensian, a Cathar; this is the key to her thought. She drew extreme conclusions from the Platonic current in Christianity. Here we touch upon hidden ties between her and Albert Camus. The first work by Camus was his university dissertation on St. Augustine. Camus, in my opinion, was also a Cathar, a pure one, [‘Cathar’ from Gr. katharos, pure] and if he rejected God it was out of love for God because he was not able to justify Him. The last novel written by Camus, The Fall, is nothing else but a treatise on Grace — absent grace — though it is also a satire: the talkative hero, Jean-Baptiste Clamence, who reverses the words of Jesus and instead of ‘Judge not and ye shall not be judged’: gives the advice ‘Judge, and ye shall not be judged,’ could be, I have reason to suspect, Jean-Paul Sartre.”
Speaking of Louis Dupré, I also noticed he has a book, The Quest of the Absolute, forthcoming from NDP. Here’s what it promises:
“This eagerly awaited study brings to completion Louis Dupré’s planned trilogy on European culture during the modern epoch. Demonstrating remarkable erudition and sweeping breadth, The Quest of the Absoluteanalyzes Romanticism as a unique cultural phenomenon and a spiritual revolution. Dupré philosophically reflects on its attempts to recapture the past and transform the present in a movement that is partly a return to premodern culture and partly a violent protest against it.
Following an introduction on the historical origins of the Romantic Movement, Dupré examines the principal Romantic poets of England (Wordsworth, Coleridge, Shelley, Keats), Germany (Goethe, Schiller, Novalis, Hölderlin), and France (Lamartine, de Vigny, Hugo), all of whom, from different perspectives, pursued an absolute ideal. In the chapters of the second part, he concentrates on the critical principles of Romantic aesthetics, the Romantic image of the person as reflected in the novel, and Romantic ethical and political theories. In the chapters of the third, more speculative, part, he investigates the comprehensive syntheses of romantic thought in history, philosophy, and theology.”
Waiting for Dupré.
We’ll close with a quotation from Simone Weil, which both serves as a brief introduction to her quest for the absolute and demonstrates her continued relevance:
“For the past two or three centuries there is a belief that force is the sole master of all natural phenomena, and, at the same time, that men can and should establish their mutual relationships on justice, as determined by reason. This is a patent absurdity.
It is not conceivable that everything in the universe be absolutely subject to the empire of force but that man can avoid it, while he is made of flesh and blood, and his thought drifts along with perceptual impressions.
There is only one choice to make. Either one must perceive another principle besides force at work in the universe, or one must acknowledge that force is also the sole master of human relations.”
Random fact for trivia night: I bet you didn’t know it’s rumored Samuel Beckett was riffing on the title of Simone Weil’s essays, Waiting for God, when he came up with the title of his most famous play.
Cosmos the in Lost 