At this point I perceive, therefore, that hope cannot be eluded forever and that it can beset even those who wanted to be free of it. This is the interest I find in the works discussed up to this point. I could, at least in the realm of creation, list some truly absurd works. (Melville's Moby Dick, for instance). But everything must have a beginning. The object of this quest is a certain fidelity. The Church has been so harsh with heretics only because she deemed that there is no worse enemy than a child who has gone astray. But the record of the Gnostic effronteries and the persistence of Manichean currents have contributed more to the construction of orthodox dogma than all the prayers. With due allowance, the same is true of the absurd. One recognizes one's course by discovering the paths that stray from it. At the very conclusion of the absurd reasoning, in one of the attitudes dictated by its logic, it is not a matter of indifference to find hope coming back in under one of the most touching guises. That shows the difficulty of the absurd ascetics. Above all, it shows the necessity of unfailing alertness and thus confirms the general plan of this essay.
But if it is still too early to list absurd works, at least a conclusion can be reached as to the creative attitude, one of those which can complete absurd existence. Art can never be so well served as by a negative thought. Its dark and humiliated precedings are as necessary to the understanding of a great work as black is to white. To work and create "for nothing," to sculpture in clay, to know one's creation has no future, to see one's work destroyed in a day while being aware that fundamentally this has no more importance than building for centuries---this is the difficult wisdom that absurd thought sanctions. Performing these two tasks simultaneously, negating on the one hand and magnifying on the other, it the way open to the absurd creator. He must give the void its colors.
This leads to a special conception of the work of art. Too often the work of a creator is looked upon as a series of isolated testimonies. Thus, artist and man of letters are confused. A profound thought is in a constant state of becoming; it adopts the experience of a life and assumes its shape. Likewise, a man's sole creation is strengthened in its successive and multiple aspects: his works. One after another they complement one another, correct or overtake one another, contradict one another, too. If something brings creation to an end, it is not the victorious and illusory cry of the blinded artist: "I have said everything," but the death of the creator which closes his experiences and the book of his genius.
That effort, that superhuman consciousness are not necessarily apparent to the reader. There is no mystery in human creation. Will performs this miracle. But at least there is no true creation without a secret. To be true, a succession of works can be but a series of approximations of the same thought. But it is possible to conceive of another type of creator proceeding by juxtaposition. Their words may seem to be devoid of inter-relations, to a certain degree, they are contradictory. But viewed all together, they resume their natural groupings. From death, for instance, they derive their definitive significance. They receive their most obvious light from the very life of their author. At the moment of death, the succession is but a collection of failures. But if those failures all have the same resonance, the creator has managed to repeat the image of his own condition, to make the air echo with the sterile secret he possesses.
The effort to dominate is considerable here. But human intelligence is up to much more. It will merely indicate clearly the voluntary aspect of creation. Elsewhere I have brought out the fact that human had no other purpose than to maintain awareness. But that could not do without discipline. Of all the schools of patience and lucidity, creation is the most effective. It is also the staggering evidence of man's sole dignity: the dogged revolt against his condition, perseverance in an effort considered sterile. It calls for a daily effort, self-mastery, a precise estimate of the limits of truth, measure, and strength. It constitutes an ascesis. All that "for nothing," in order to repeat and mark time. But perhaps the great work of art has less importance in itself than in the ordeal it demands of a man and the opportunity it provides him of overcoming his phantoms and approaching a little closer to his naked reality.
Let there be no mistake about aesthetics. It is not patient inquiry, the unceasing, sterile illustration of a thesis that I am calling for here. Quite the contrary, if I have made myself clearly understood. The thesis-novel, the work that proves, the most hateful of all, is the one that most often is inspired by a smug thought. You demonstrate the truth you feel sure of possessing. But those are ideas one launches, and ideas are the contrary of thought. Those creators are philosophers, ashamed of themselves. Those I am speaking of or whom I imagine are, on the contrary, lucid thinkers. At a certain point where thought turns back on itself, they raise up the images of their works like the obvious symbols of a limited, mortal, and rebellious thought.
They perhaps prove something. But those proofs are the ones that the novelists provide for themselves rather than for the world in general. The essential is that the novelists should triumph in the concrete and that this constitute their nobility. This wholly carnal triumph has been prepared for them by a thought in which abstract powers have been humiliated. When they are completely so, at the same time the flesh makes the creation shine forth in all its absurd luster. After all, ironic philosophies produce passionate works.
Any thought that abandons unity glorifies diversity! And diversity is the home of art. The only thought to liberate the mind is that which leaves it alone, certain of its limits and of its impending end. No doctrine tempts it. It awaits the ripening of the work and of life. Detached from it, the work will once more give a barely muffled voice to a soul forever freed from hope. Or it will give voice to nothing if the creator, tired of his activity, intends to turn away. That is equivalent.
Thus, I ask of absurd creation what I required from thought---revolt, freedom, and diversity. Later on it will manifest its utter futility. In that daily effort in which intelligence mingle and delight each other, the absurd man discovers a discipline that will make up the greatest of his strengths. The required diligence and doggedness and lucidity thus resemble the conqueror's attitude. To create is likewise to give a shape to one's fate. For all these characters, their work defines them at least as much as it is defined by them. The actor taught us this: There is no frontier between being and appearing.
Let me repeat. None of all this has any real meaning. On the way to that liberty, there is still a progress to be made. The final effort for these related minds, creator or conqueror, is to manage to free themselves also from their undertakings: succeed the granting that the very work, whether it be conquest, love, or creation, may well not be; consummate thus the utter futility of any individual life. Indeed, that gives them more freedom in the realization of their work, just as becoming aware of the absurdity of life authorized them to plunge into it with every excess.
All that remains is a fate whose outcome alone is fatal. Outside of that single fatality of death, everything, joy or happiness, is liberty. A world remains of which man is the sole master. What bound him was the illusion of another world. The outcome of his thought, ceasing to be renunciatory, flowers in images. It frolics---in myths, to be sure, but myths with no other depth than that of human suffering and, like it, inexhaustible. Not the divine fable that amuses and blinds, but the terrestrial face, gesture, and drama in which are summed up a difficult wisdom and an ephemeral passion.
-Albert Camus
via The Blue Boy
