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this one. Finally exasperated, he is brought to an emotional pitch where–
by he achieves his own absolution. He is not made greater by it, or better,
he learns nothing new. Simply and powerfully, he becomes more consci–
ous, aware of what he had never before bothered to state. He under–
stands why he found the common concerns of man-marriage, ambi–
tion, worthy friends-of no importance, "not serious." In the midst of
death, he reaches what is for him the heart of life-the fact that one
breathes and lives he understands as so tremendous as to diminish every
other consideration. Now he becomes positively charged and to the
highest voltage of which he is capable. And his last energy is used to
insist on and praise his humanity. From the depths of the future, from
all those years he was to live came, he says, the breath of life which
equalizes any way one might choose to put in the time. By being alive,
he was therefore privileged, as all beings are privileged and as all beings
are equal. And all condemned to lose their privilege. At the end, then,
the book is a hymn in praise of life as it is lived.
In its brief career, it manages to be a good many other things as
well. The double-image quality of life is constantly apparent-the con–
flict between the values of society and those of the individual. In this
connection, perhaps the most reassuring element in the whole work is
Camus' contentment with prose usage. He evidently finds people and
the waking world adequate means to his quite sufficiently complicated
ends. :
KATHERINE HosKINS
GBM
announces
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THE GODS
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