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- How does the weather, and in particular, the sun, affect
Meursault's mood and behavior? Why do you suppose it has any effect
at all? Can Meursault truly believe that the scorching sun is a
valid excuse for murdering the Arab?
- The Stranger is divided into two parts—what is the effect of
such a structure? Do you see any structure created (outside of the
two parts) that is marked by the three deaths of the text?
- Camus was a self-proclaimed "absurdist." Based on The
Stranger and Meursault's beliefs in The Stranger, how
would you define "the absurd"? What role do concepts like
"detachment," "alienation," "acceptance," and "society" play? How is
absurdity reflected in (a) the events in Meursault's life, (b) the
relationships Meursault finds himself in, and (c) the attitudes with
which Meursault faces, and subsequently rejects, the world?
- How does Meursault change as an individual from the beginning of
the book to the very end? How do we see these changes? Are
Meursault's thoughts and feelings about death, for example,
noticeably different by the end of the text? What about religion?
Women?
- So, we've got all these relationships going on here: Meursault
and Maman, Meursault and Marie, Salamano and his dog, Maman and
Perez, Meursault and Raymond, and Raymond and his mistress. Which
would you say is the most loving? Deep? Loyal? Casual? Sexual?
Complex? Rooted in friendship and companionship? Indifferent?
Uninteresting? Shallow? Sad? Other adjective?
- In what sense does Meursault triumph at the end of The
Stranger? (This was what Camus intended, but you're welcome to
argue that, in fact, Meursault doesn't triumph at all.) Does
Meursault overcome society's judgment, and thereby, its shackles? Or
is it more important that he rebelled against conformity? And what's
up with him wishing for a large crowd of hating spectators at his
execution?
* Some questions from SHMoop.
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