
Nobel Prize winner Albert Camus.
Defending The Classical, Introspective Literature of Camus Against The Invasion Of the Pop-Entertainment Canon Of Rowling
By Wayne Schutsky
One of the most common misconceptions within our culture is that all reading is created equal. Increasingly, parents, teachers and individuals are satisfied as long as their children, students or selves are reading anything, regardless of the content and its value.
Too often, our forms of storytelling fall into several separate levels of intellectuality. Reading reigns supreme at the top of the hierarchy, followed by film, television and then video games (the spoken tradition is all but forgotten today).
This division lumps all reading — from Dante to Chaucer to J.K. Rowling — into the same category.
I would contend that this generalization degrades the value of certain literature while elevating the value of other, lesser works.
In defending the genre, I am actually defending works across a range of genres. I am defending classics and contemporary works alike that, unlike the smattering of generic and one-dimensional novels that pepper today’s literature, challenge our beliefs as a culture and force readers to examine the world around them.
Specifically, in this piece, I am defending Albert Camus’ The Stranger. As a novel that deals principally with the conceptual ideas of good and evil, The Stranger has plenty of company in modern literature.
From every generic mystery novel to the Harry Potter franchise, the past decade is rife with books pitting good characters against evil ones and giving readers a look at that struggle.
However, in today’s pop literature good and evil are too often completely polarized in such a way that the question of what constitutes either is hardly a question at all.
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