Author: Albert Camus

Cites

• Daniel Defoe (1)
  • IN: The Plague (1947) Fiction, French
    EPIGRAPH: It is as reasonable to represent one kind of imprisonment by another, as it is to represent anything that really exists by that which exists not.
    FROM: Robinson Crusoe, (1719), Novel, UK
• Mikhail Lermontov (1)
  • IN: The Fall (1956) Philosopical Fiction, French
    EPIGRAPH: Some were dreadfully insulted, and quite seriously, to have held up as a model such an immoral character as A Hero of Our Time; others shrewdly noticed that the author had portrayed himself and his acquaintances…A Hero of Our Time, gentlemen, is in fact a portrait, but not of an individual; it is the aggregate of the vices of our whole generation in their fullest expression
    FROM: foreword to A Hero of our Time, (1841), Novel, Russia

Cited by

• T. Michael Martin (1)
  • IN: The End Games (2013) Fiction, Young Adult Fiction, American
    EPIGRAPH: I shall tell you a great secret, my friend. Do not wait for the last judgment, it takes place every day.
    FROM: The Fall, (1956), Novel, France
• Sarah Dessen (1)
  • IN: This Lullaby (2002) Contemporary, Young Adult Fiction, American
    EPIGRAPH: In the depth of winter, I finally learned that within me there lay an invincible summer.
    FROM: Return to Tipasa, (1954), Essay, France
• Alice Adams (1)
  • IN: Invincible Summer (2016) Fiction, American
    EPIGRAPH: Au milieu de l'hiver, j'apprenais enfin qu'il y avait en moi un ete invincible. In the depths of winter, I finally learned that there lay within me an invincible summer
    FROM: Retour a Tipasa, (1950), NULL, France
• Reed Coleman (1)
  • IN: They Don't Play Stickball in Milwaukee (1997) Fiction, American
    EPIGRAPH: And each successive shot was another loud, fateful rap on the door of my undoing.
    FROM: The Stranger, (1942), Novel, France
• Geoff Dyer (1)
  • IN: Zona (2012) Fiction, British
    EPIGRAPH: After all, the best way of talking about what you love is to speak of it lightly.
    FROM: A Short Guide to Towns Without a Past, (1947), Book, France
• Donna Tartt (1)
  • IN: The Goldfinch (2013) Fiction, American
    EPIGRAPH: The absurd does not liberate; it binds.
    FROM: The Myth of Sisyphus, (1942), Essay, France
• Gilly MacMillan (1)
  • IN: The Perfect Girl (2016) Fiction, American
    EPIGRAPH: My mother died today, or maybe it was yesterday.
    FROM: The Stranger, (1942), Novel, France
• William Norwich (1)
  • IN: My Mrs Brown (2015) Fiction, American
    EPIGRAPH: In the midst of winter, I found there was within me, an invincible summer.
    FROM: Return to Tipasa, (1954), Essay, France
• Ben Okri (1)
  • IN: The Age of Magic (2014) Fiction, American
    EPIGRAPH: A work of art that retraced the conquest of happiness would be a revolutionary one.
    FROM: Noces, (1937), Book, France
• Micha Robotham (1)
  • IN: Life or Death (2014) Fiction, American
    EPIGRAPH: Life can be magnificent and overwhelming -- That is its whole tragedy. Without beauty, love, or danger it would almost be easy to live.
    FROM: Review of "Nausea" by Jean-Paul Sartre, (1938), Article, France
• Benjamin Percy (1)
  • IN: Red Moon (2013) Fiction, American
    EPIGRAPH: I have realized that we all have plague, and I have lost my peace.
    FROM: The Plague, (1947), Novel, France
• Daniel Woodrell (1)
  • IN: The Outlaw Album (2011) Fiction, American
    EPIGRAPH: And I am learning not to separate these beings charged with violence from the sky in which their desires revolve.
    FROM: Summer in Algiers, (1939), NULL, France
• Michael Vatikiotis (1)
  • IN: The Painter of Lost Souls (2012) Fiction, American
    EPIGRAPH: For myself, I cannot live without my art. But I have never placed it above everything. If, on the other hand, I need it, it is because it cannot be separated from my fellow men, and it allows me to live, such as I am, on one level with them. It is a means of stirring the greatest number of people by offering them a privileged picture of common joys and sufferings. It obliges the artist not to keep himself apart; it subjects him to the most humble and the most universal truth.
    FROM: Nobel Banquet Speech, (1957), Speech, France
• Allison Brennan (1)
  • IN: Silenced (2012) Fiction, American
    EPIGRAPH: Life is the sum of all your choices.
    FROM: NULL, (None), [NA], France
• Molly Prentiss (1)
  • IN: Tuesday Night in 1980 (2016) Fiction, American
    EPIGRAPH: A man's work is nothing but the slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened.
    FROM: Between Yes and No, (1937), Essay, France
• Christine Poulson (1)
  • IN: Deep Water (2016) Fiction, British
    EPIGRAPH: La lutte elle-meme vers les sommets suffit a remplir un coeur d'homme. Il faut imaginer Sisyphe heureux. (The struggle itself towards the summit should be enough to satisfy the human heart. One can imagine Sisyphus happy.)
    FROM: The Myth of Sisyphus, (1942), Essay, France
• William Lashner (1)
  • IN: Bitter Truth (2003) Fiction, American
    EPIGRAPH: A taste for truth at any cost is a passion which spares nothing.
    FROM: NULL, (None), NULL, France
• Philip Meyer (1)
  • IN: American Rust (2009) Fiction, American
    EPIGRAPH: ...what we learn in time of pestilence: that there are more things to admire in men than to despise.
    FROM: The Plague, (1947), Novel, France
• Alexander Maksik (1)
  • IN: You Deserve Nothing (2011) Fiction, American
    EPIGRAPH: I do not want to choose between the right and wrong sides of the world, and I do not like a choice to be made.
    FROM: The Wrong Side and the Right Side, (1937), Essay, France
• Bracken MacLeod (1)
  • IN: Stranded (2016) Fiction, American
    EPIGRAPH: O light! This is the cry of all the characters of ancient drama brought face to face with their fate. This last resort was ours, too, and I knew it now. In the middle of winter I at last discovered that there was in me an invincible summer.
    FROM: "Return to Tipasa", (1950), Essay, France
• Brad Listi (1)
  • IN: Attention Deficit Disorder (2006) Fiction, American
    EPIGRAPH: Sisyphus was basically a happy man.
    FROM: NULL, (None), NULL, France
• Yasmina Khadra (1)
  • IN: What the Day Owes the Night (2008) Fiction, NULL
    EPIGRAPH: In Oran, as elsewhere, for lack of time and thinking, people are forced to love each other without realising it.
    FROM: The Plague, (1947), Novel, France
• Patricia Engel (1)
  • IN: It's Not Love, It's Just Paris (2013) Fiction, American
    EPIGRAPH: In love, hold on to what is.
    FROM: Notebooks 1951-1959, (1989), Book, France
• Isabel Allende (2)
  • IN: In the Midst of Winter (2017) Fiction, NULL
    EPIGRAPH: In the midst of winter, I finally found there was within me an invincible summer.
    FROM: Return to Tipasa, (1954), Essay, France
• Mary Costello (1)
  • IN: Academy Street (2014) Literary Fiction, Irish
    EPIGRAPH: In the depths of the winter I finally learned that there lay in me an unconquerable summer.
    FROM: Return to Tipasa, (1950), Essay, France
• John Mortimer (1)
  • IN: Clinging to the Wreckage (1982) Fiction, British
    EPIGRAPH: For the absurd man it is not a matter of explaining and solving, but of experiencing and describing. Everything begins with lucid indifference.
    FROM: The Myth of Sisyphus (trans. by Justin O'Brien), (1991), Essay, France
• Dean Koontz (1)
  • IN: the good guy (2007) Fiction, American
    EPIGRAPH: I shall tell you a great secret, my friend. Do not wait for the last judgement, it takes place every day.
    FROM: The Fall, (1956), Novel, France
• Ronan Ryan (1)
  • IN: The Fractured Life of Jimmy Dice (2017) Fiction, Irish
    EPIGRAPH: I ask what is involved in the condition I recognise as mine; I know it implies obscurity and ignorance; and I am assured that this ignorance explains everything and that this darkness is my light.
    FROM: The Myth of Sisyphus, (1942), Essay, France
• Janette Turner Hospital (4)
  • IN: Due Preparations for the Plague (2003) Fiction, Australian
    EPIGRAPH: In this respect our townsfolk were like everybody else, wrapped up in themselves, in other words, they were humanists, they disbelieved in pestilences. A pestilence isn't a thing made to man's measure, therefore we tell ourselves that pestilence is a mere bogey of the mind, a bad dream that will pass away. But it doesn't always pass away and, from one bad dream to another, it is men who pass away, and the humanists first of all, because they haven't taken their precautions.
    FROM: The Plague, (1947), Novel, France
• T. C. Boyle (1)
  • IN: Without a Hero (1994) Fiction, American
    EPIGRAPH: ... all that remained to hope was that one the day of my execution there should be a huge crows of spectators and that they should greet me with howls of execration.
    FROM: The Stranger, (1942), Novel, France
• Lauren DeStefano (1)
  • IN: The Glass Spare (2017) Fiction, American
    EPIGRAPH: At the heart of all the beauty lies something inhuman.
    FROM: The Myth of Sisyphus, (1942), Essay, France
• Josef Skvorecky (1)
  • IN: The Engineer of Human Souls (1977) Fiction, NULL
    EPIGRAPH: Listen Tor, here's the real problem: whatever happens, I shall always defend you against the guns of the firing squad. You, on the other hand, must consent in my execution.
    FROM: NULL, (None), NULL, France
• Amy Tan (1)
  • IN: Saving Fish from Drowning (2005) Fiction, American
    EPIGRAPH: The evil that is in the world almost always comes of ignorance, and good intentions may do as much harm as malevolence if they lack understanding.
    FROM: NULL, (None), NULL, France
• Cay Rademacher (1)
  • IN: Murderous Mistral (2015) Fiction, German
    EPIGRAPH: It is noon; the day itself stands at a point of balance.
    FROM: NULL, (None), NULL, France
• Thomas Mullen (1)
  • IN: The Last Town on Earth (2006) Fiction, American
    EPIGRAPH: Perhaps the easiest way of making a town's acquintance is to ascertain how the people in it work, how they love, and how they die.
    FROM: The Plague, (1947), Novel, France