+ FIRST VINTAGE INTERNATIONAL EDITION, MARCH 1991 Copyright© 1955 by Alfred A. Knopf, Inc. Copyright renewed 1983 by Alfred A. Knopf, Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Vintage Books, a division of Random House, Inc,. New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Originally published in France as Le Mythe de Sisyphe. Copyright 1942 by Librairie Gallimard. The other essays have been taken from various collections of essays by Albert Camus published by Librairie Gallimard. First published in the UnitedStatesbyAlfredA. Knopf, Inc., in 1955· Library of Congress Cataloging-in-Publication Data Camus, Albert, 1913-1960. [Mythe de Sisyphe. English] The myth of Sisyphus, and other essays I Albert Camus ; translated from the French by Justin O'Brien.-1st Vintage international ed. p. cm.-(Vintage international) Translation of: Le mythe de Sisyphe. ISBN o-679-73373-6 (pbk.) I. Title. PQ26o5.A3734M913 1991 844'·914~c2o 90-50476 CIP Manufactured in the United States of America 98 PREFACE Fon ME "The Myth of Sisyphus" marks the beginning of an idea which I was to pursue in The Rebel. It at-tempts to resolve the problem of suicide, as The Rebel attempts to resolve that of murder, in both cases without the aid of eternal values which, temporarily perhaps, are absent or distorted in contemporary Europe. The funda-mental subject of "The Myth of Sisyphus" is this: it is legitimate and necessary to wonder whether life has a meaning; therefore it is legitimate to meet the problem of suicide face to face. The answer, underlying and ap-pearing through the paradoxes which cover it, is this: even if one does not believe in God, suicide is not legiti-mate. Written fifteen years ago, in 1940, amid the French and European disaster, this book declares that even within the limits of nihilism it is possible to find the means to proceed beyond nihilism. In all the books I have written since, I have attempted to pursue this di-rection. Although "The Myth of Sisyphus" poses mortal problems, it sums itself up for me as a lucid invitation to live and to create, in the very midst of the desert. It has hence been thought possible to append to this philosophical argument a series of essays, of a kind I have never ceased writing, which are somewhat marginal to my other hooks. In a more lyrical form, they all il-lustrate that essential fluctuation from assent to refusal
The central concern of The Myth of Sisyphus is what Camus calls "the absurd." Camus claims that there is a fundamental conflict between what we want from the universe (whether it be meaning, order, or reasons) and what we find in the universe (formless chaos). We will never find in life itself the meaning that we want to find. Either we will discover that meaning through a leap of faith, by placing our hopes in a God beyond this world, or we will conclude that life is meaningless. Camus opens the essay by asking if this latter conclusion that life is meaningless necessarily leads one to commit suicide. If life has no meaning, does that mean life is not worth living? If that were the case, we would have no option but to make a leap of faith or to commit suicide, says Camus. Camus is interested in pursuing a third possibility: that we can accept and live in a world devoid of meaning or purpose.
The absurd is a contradiction that cannot be reconciled, and any attempt to reconcile this contradiction is simply an attempt to escape from it: facing the absurd is struggling against it. Camus claims that existentialist philosophers such as Kierkegaard, Chestov, and Jaspers, and phenomenologists such as Husserl, all confront the contradiction of the absurd but then try to escape from it. Existentialists find no meaning or order in existence and then attempt to find some sort of transcendence or meaning in this very meaninglessness.
Living with the absurd, Camus suggests, is a matter of facing this fundamental contradiction and maintaining constant awareness of it. Facing the absurd does not entail suicide, but, on the contrary, allows us to live life to its fullest.
Camus identifies three characteristics of the absurd life: revolt (we must not accept any answer or reconciliation in our struggle), freedom (we are absolutely free to think and behave as we choose), and passion (we must pursue a life of rich and diverse experiences).
Camus gives four examples of the absurd life: the seducer, who pursues the passions of the moment; the actor, who compresses the passions of hundreds of lives into a stage career; the conqueror, or rebel, whose political struggle focuses his energies; and the artist, who creates entire worlds. Absurd art does not try to explain experience, but simply describes it. It presents a certain worldview that deals with particular matters rather than aiming for universal themes.
The book ends with a discussion of the myth of Sisyphus, who, according to the Greek myth, was punished for all eternity to roll a rock up a mountain only to have it roll back down to the bottom when he reaches the top. Camus claims that Sisyphus is the ideal absurd hero and that his punishment is representative of the human condition: Sisyphus must struggle perpetually and without hope of success. So long as he accepts that there is nothing more to life than this absurd struggle, then he can find happiness in it, says Camus.
Camus appends his essay with a discussion of the works of Franz Kafka. He ultimately concludes that Kafka is an existentialist, who, like Kierkegaard, chooses to make a leap of faith rather than accept his absurd condition. However, Camus admires Kafka for expressing humanity's absurd predicament so perfectly.