By Olivier Todd
During this brilliant, enticing biography of Albert Camus, the across the world acclaimed writer of The Stranger, The Plague, and the autumn, French author and journalist Olivier Todd has richly tapped assets by no means ahead of available—personal correspondence, notebooks, public documents, in addition to unique interviews with Camus's relatives, acquaintances, fellow staff, mentors, and enthusiasts. What emerges is the learn of a guy stuck in conflicts among family members loyalties and his personal passionate nature, among the decision to political motion and devotion to his paintings, among his help of the local Algerians and his id with the forgotten bad whites. Exploring Camus's impoverished youth within the Algerian urban of Belcourt, his underground actions throughout the profession in Paris, the intrigues of the French literati who embraced him after the e-book of his first novel, L'Etranger, Todd uncovers the solitary deepest guy in the back of the masks of his superstar. He exhibits us a author remoted through his personal good fortune, crippled by way of the charms of girls he couldn't face up to, debilitated by means of the tuberculosis that didn't kill him. the automobile coincidence that did provides basically to the ironies within the lifetime of this foreign monstrous of twentieth-century literature.</Div>
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What do they tell us about Bob Dylan? What does America tell us about Bob Dylan—and what does Dylan’s work tell us about America? These are the questions that finally pushed me to write this book. While I was preparing to write about “Love and Theft” in late summer 2001, I thought I perceived (and it turned out to be a pretty obvious observation) that the album was a kind of minstrel show, in which Dylan had assembled bits and pieces of older American music and literature (and not just American music and literature) and recombined them in his own way.
By the time I arrived in Los Angeles, I badly wanted to win. I didn’t. It hurt when the presenter read someone else’s name, and I couldn’t hide it. From the row in front of mine, an elegantly dressed woman, older than I, noticed my dejection and extended her hand. ” I kissed her hand, suddenly feeling better, grateful to be welcomed, if only for a weekend, into the ranks of hardworking musicians and artists. I returned to writing my history books and teaching my history classes, but also continued to write an occasional essay and deliver an occasional lecture on aspects of American music, including Dylan’s work.
But I loved the music and Dylan’s sound, the guitar, the harmonica, and a voice that I never thought especially raspy or grating, just plain. Getting the chance to see him in concert was a treat, about which I have more to say below. In time, it proved to be a source of even greater luck. The next turn in the story, almost forty years later, is more mysterious to me. After a long and deep attachment through high school, college, and after, my interest in Dylan’s work began to wane about the time Infidels appeared in 1983.
Albert Camus: A Life by Olivier Todd