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• Don't let them tell us stories. Don't let them say of the man sentenced to death "He is going to pay his debt to society," but: "They are going to cut off his head." It looks like nothing. But it does make a little difference. And then there are people who prefer to look their fate in the eye.
  • "Entre oui et non" in L'Envers et l'endroit (1937), translated as "Between Yes and No", in World Review magazine (March 1950), also quoted in The Artist and Political Vision (1982) by Benjamin R. Barber and Michael J. Gargas McGrath

• We have exiled beauty; the Greeks took up arms for her.
  • "Helen's Exile" (1948)

• We turn our backs on nature; we are ashamed of beauty. Our wretched tragedies have a smell of the office clinging to them, and the blood that trickles from them is the color of printer's ink.
  • "Helen's Exile" (1948)

• Man cannot do without beauty, and this is what our era pretends to want to disregard. It steels itself to attain the absolute and authority; it wants to transfigure the world before having exhausted it, to set it to rights before having understood it. Whatever it may say, our era is deserting this world.
  • "Helen's Exile" (1948)

• O light! This is the cry of all the characters of ancient drama brought face to face with their fate. This last resort was ours, too, and I knew it now. In the middle of winter I at last discovered that there was in me an invincible summer.
  • Return to Tipasa (1952)

• Hungary conquered and in chains has done more for freedom and justice than any people for twenty years. But for this lesson to get through and convince those in the West who shut their eyes and ears, it was necessary, and it can be no comfort to us, for the people of Hungary to shed so much blood which is already drying in our memories. In Europe's isolation today, we have only one way of being true to Hungary, and that is never to betray, among ourselves and everywhere, what the Hungarian heroes died for, never to condone, among ourselves and everywhere, even indirectly, those who killed them. It would indeed be difficult for us to be worthy of such sacrifices.
  • The Blood of the Hungarians (1957)

• A character is never the author who created him. It is quite likely, however, that an author may be all his characters simultaneously.
  • As quoted in Albert Camus : The Invincible Summer (1958) by Albert Maquet, p. 86; a remark made about the Marquis de Sade.

• With rebellion, awareness is born.
  • As quoted in The Estranged God : Modern Man's Search for Belief (1966) by Anthony T. Padovano, p. 109

• A living man can be enslaved and reduced to the historic condition of an object. But if he dies in refusing to be enslaved, he reaffirms the existence of another kind of human nature which refuses to be classified as an object.
  • "The Failing of Prophecy" in Existentialism Versus Marxism : Conflicting Views on Humanism (1966) by George Edward Novack

• There is not love of life without despair about life.
  • Preface, Lyrical and Critical Essays (1970)

• Accepting the absurdity of everything around us is one step, a necessary experience: it should not become a dead end. It arouses a revolt that can become fruitful.
  • "Three Interviews" in Lyrical and Critical Essays (1970)

• Knowing that certain nights whose sweetness lingers will keep returning to the earth and sea after we are gone, yes, this helps us to die.
  • "The Sea Close By" in Lyrical and Critical Essays (1970)

• Autumn is a second Spring when every leaf is a flower.
  • As quoted in Visions from Earth (2004) by James R. Miller, p. 126

• Nous nous trompons toujours deux fois sur ceux que nous aimons: d'abord à leur avantage, puis à leur désavantage.
  • English: We always deceive ourselves twice about the people we love — first to their advantage, then to their disadvantage.
  • Albert Camus, quoted in
    

    The Stranger (1942)

    
    
    • Aujourd'hui maman est morte. Ou peut-être hier, je ne sais pas.
      • Mother died today. Or maybe yesterday; I can't be sure.
        • First sentences of the book; some translations retain the original Maman.
    
    
    • I hope the dogs don't bark tonight. I always think it's mine.
    
    
    • I was assailed by memories of a life that wasn't mine anymore, but one in which I'd found the simplest and most lasting joys.
    
    
    • Since we're all going to die, it's obvious that when and how don't matter.
    
    
    • The papers were always talking about the debt owed to society. According to them, it had to be paid. But that doesn't speak to the imagination. What really counted was the possibility of escape, a leap to freedom, out of the implacable ritual, a wild run for it that would give whatever chance for hope there was. Of course, hope meant being cut down on some street corner, as you ran like mad, by a random bullet. But when I really thought it through, nothing was going to allow me such a luxury. Everything was against it; I would just be caught up in the machinery again.
    
    
    
    • I may not have been sure about what really did interest me, but I was absolutely sure about what didn't.
    
    
    • I had only a little time left and I didn't want to waste it on God.
    
    
    • Maman used to say that you can always find something to be happy about.
    
    
    • I don't know why, but something inside me snapped. I started yelling at the top of my lungs, and I insulted him and told him not to waste his prayers on me. I grabbed him by the collar of his cassock. I was pouring out on him everything that was in my heart, cries of anger and cries of joy.
      He seemed so certain about everything, didn't he? And yet none of his certainties was worth one hair of a woman's head. He wasn't even sure he was alive, because he was living like a dead man. Whereas it looked as if I was the one who'd come up emptyhanded. But I was sure about me, about everything, surer than he could ever be, sure of my life and sure of the death I had waiting for me. Yes, that was all I had. But at least I had as much of a hold on it as it had on me. I had been right, I was still right, I was always right. I had lived my life one way and I could just as well have lived it another. I had done this and I hadn't done that. I hadn't done this thing but I had done another. And so? It was as if I had waited all this time for this moment and for the first light of this dawn to be vindicated. Nothing, nothing mattered, and I knew why. So did he. Throughout the whole absurd life I'd lived, a dark wind had been rising toward me from somewhere deep in my future, across years that were still to come, and as it passed, this wind leveled whatever was offered to me at the time, in years no more real than the ones I was living. What did other people's deaths or a mother's love matter to me; what did his God or the lives people choose or the fate they think they elect matter to me when we're all elected by the same fate, me and billions of privileged people like him who also called themselves my brothers? Couldn't he see, couldn't he see that? Everybody was privileged. There were only privileged people. The others would all be condemned one day. And he would be condemned, too.
    
    
    
    • For the first time in a long time I thought about Maman. I felt as if I understood why at the end of her life she had taken a 'fiancé,' why she had played at beginning again. Even there, in that home where lives were fading out, evening was a kind of wistful respite. So close to death, Maman must have felt free then and ready to live it all again. Nobody, nobody had the right to cry over her. And I felt ready to live it all again too. As if the blind rage had washed me clean, rid me of hope; for the first time, in that night alive with signs and stars, I opened myself to the gentle indifference of the world. Finding it so much like myself — so like a brother, really — I felt I had been happy and that I was happy again. For everything to be consummated, for me to feel less alone, I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate.
      • Variant translation: I, too, felt ready to start life all over again. It was as if that great rush of anger had washed me clean, emptied me of hope, and, gazing up at the dark sky spangled with its signs and stars, for the first time, the first, I laid my heart open to the benign indifference of the universe. To feel it so like myself, indeed, so brotherly, made me realize that I’d been happy, and that I was happy still. For all to be accomplished, for me to feel less lonely, all that remained to hope was that on the day of my execution there should be a huge crowd of spectators and that they should greet me with howls of execration.
        • As translated by Stuart Gilbert.
    
    

    The Myth of Sisyphus (1942)

    • Nothing is harder to understand than a symbolic work. A symbol always transcends the one who makes use of it and makes him say in reality more than he is aware of expressing.
      • "Hope and the Absurd in the work of Franz Kafka"
    
    
    • What must be remembered in any case is that secret complicity that joins the logical and the everyday to the tragic.
      • "Hope and the Absurd in the work of Franz Kafka"
    
    

    An Absurd Reasoning

    • What, then, is that incalculable feeling that deprives the mind of the sleep necessary to life? A world that can be explained even with bad reasons is a familiar world. But, on the other hand, in a universe suddenly divested of illusions and lights, man feels an alien, a stranger. His exile is without remedy since he is deprived of the memory of a lost home or the hope of a promised land. This divorce between man and his life, the actor and his setting, is properly the feeling of absurdity.
    
    
    • Like great works, deep feelings always mean more than they are conscious of saying.
    
    
    • Great novelists are philosopher-novelists whom write in images instead of arguments.
    
    
    • Great feelings take with them their own universe, splendid or abject. They light up with their passion an exclusive world in which they recognize their climate. There is a universe of jealousy, of ambition, of selfishness or generosity. A universe — in other words a metaphysic and an attitude of mind.
    
    
    
    • At any street corner the feeling of absurdity can strike any man in the face.
    
    
    • It happens that the stage sets collapse. Rising, streetcar, four hours in the office or the factory, meal, streetcar, four hours of work, meal, sleep and Monday Tuesday Wednesday Thursday Friday and Saturday according to the same rhythm — this path is easily followed most of the time. But one day the "why" arises and everything begins in that weariness tinged with amazement.
    
    
    • If I try to seize this self of which I feel sure, if I try to define and to summarize it, it is nothing but water slipping through my fingers. I can sketch one by one all the aspects it is able to assume, all those likewise that have been attributed to it, this upbringing, this origin, this ardor or these silences, this nobility or this vileness. But aspects cannot be added up.
    
    
    • I do not want to found anything on the incomprehensible. I want to know whether I can live with what I know and with that alone.
    
    
    • Everything considered, a determined soul will always manage.
    
    
    • I don’t know whether this world has a meaning that transcends it. But I know that I cannot know that meaning and that it is impossible for me just now to know it. What can a meaning outside my condition mean to me? I can understand only in human terms. What I touch, what resists me — that I understand. And these two certainties — my appetite for the absolute and for unity and the impossibility of reducing this world to a rational and reasonable principle — I also know that I cannot reconcile them. What other truth can I admit without lying, without bringing in a hope I lack and which means nothing within the limits of my conditions?
    
    
    • Knowing whether or not one can live without appeal is all that interests me.
    
    
    • Nobody realizes that some people expend tremendous energy merely to be normal.
    
    
    • The absurd is the essential concept and the first truth.
    
    
    • Il n'y a qu'un problème philosophique vraiment sérieux: c'est le suicide.
      • There is but one truly serious philosophical problem, and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy. All the rest — whether or not the world has three dimensions, whether the mind has nine or twelve categories — comes afterward. These are games; one must first answer.
    
    
    • To two men living the same number of years, the world always provides the same sum of experiences. It is up to us to be conscious of them.
    
    
    • The preceding merely defines a way of thinking. But the point is to live.
    
    

    The Absurd Man

    
    
    • At this point of his effort man stands face to face with the irrational. He feels within him his longing for happiness and for reason. The absurd is born of this confrontation between the human need and the unreasonable silence of the world. This must not be forgotten. This must be clung to because the whole consequence of a life can depend on it. The irrational, the human nostalgia, and the absurd that is born of their encounter — these are the three characters in the drama that must necessarily end with all the logic of which an existence is capable.
    
    
    
    • "My field," said Goethe, "is time." That is indeed the absurd speech. What, in fact, is the Absurd Man? He who, without negating it, does nothing for the eternal. Not that nostalgia is foreign to him. But he prefers his courage and his reasoning. The first teaches him to live without appeal and to get along with what he has; the second informs him of his limits. Assured of his temporally limited freedom, of his revolt devoid of future, and of his mortal consciousness, he lives out his adventure within the span of his lifetime.
    
    
    • There can be no question of holding forth on ethics. I have seen people behave badly with great morality and I note every day that integrity has no need of rules. There is but one moral code that the absurd man can accept, the one that is not separated from God: the one that is dictated. But it so happens that he lives outside that God. As for the others (I mean also immoralism), the absurd man sees nothing in them but justifications and he has nothing to justify. I start out here from the principle of his innocence.
      That innocence is to be feared. "Everything is permitted," exclaims Ivan Karamazov. That, too, smacks of the absurd. But on condition that it not be taken in a vulgar sense. I don't know whether or not it has been sufficiently pointed out that it is not an outburst of relief or of joy, but rather a bitter acknowledgment of a fact.
    
    
    • The absurd does not liberate; it binds. It does not authorize all actions. "Everything is permitted" does not mean that nothing is forbidden.
    
    
    • All systems of morality are based on the idea that an action has consequences that legitimize or cancel it. A mind imbued with the absurd merely judges that those consequences must be considered calmly. It is ready to pay up. In other words, there may be responsible persons, but there are no guilty ones, in its opinion. At very most, such a mind will consent to use past experience as a basis for its future actions.
    
    
    • Time will prolong time, and life will serve life. In this field that is both limited and bulging with possibilities, everything to himself, except his lucidity, seems unforeseeable to him. What rule, then, could emanate from that unreasonable order? The only truth that might seem instructive to him is not formal: it comes to life and unfolds in men. The absurd mind cannot so much expect ethical rules at the end of its reasoning as, rather, illustrations and the breath of human lives.
    
    
    • A sub-clerk in the post office is the equal of a conqueror if consciousness is common to them. All experiences are indifferent in this regard. There are some that do either a service or a disservice to man. They do him a service if he is conscious. Otherwise, that has no importance: a man's failures imply judgment, not of circumstances, but of himself.
    
    

    Absurd Creation

    • If the world were clear, art would not exist.
    
    
    • One recognizes one's course by discovering the paths that stray from it.
    
    
    • 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.
    
    
    • 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.
    
    
    • 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.
    
    
    • 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.
    
    
    
    • In that daily effort in which intelligence and passion 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.
    
    
    • Outside of that single fatality of death, everything, joy or happiness, is liberty.
    
    
    • The world evades us because it becomes itself again. That stage scenery masked by habit becomes what it is. It withdraws at a distance from us.
    
    
    • If the only significant history of human thought were to be written, it would have to be the history of its successive regrets and its impotences.
    
    
    • A fate is not a punishment.
    
    
    • The actor’s realm is that of the fleeting.
    
    
    • This was her finest role and the hardest one to play. Choosing between heaven and a ridiculous fidelity, preferring oneself to eternity or losing oneself in God is the age-old tragedy in which each must play his part.
    
    

    The Myth of Sisyphus

    Online text

    
    
    
    • The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labor.
    
    
    • Opinions differ as to the reasons why he became the futile laborer of the underworld. To begin with, he is accused of a certain levity in regard to the gods. He stole their secrets.
    
    
    • Homer tells us also that Sisyphus had put Death in chains. Pluto could not endure the sight of his deserted, silent empire. He dispatched the god of war, who liberated Death from the hands of her conqueror.
    
    
    • You have already grasped that Sisyphus is the absurd hero. He is, as much through his passions as through his torture. His scorn of the gods, his hatred of death, and his passion for life won him that unspeakable penalty in which the whole being is exerted toward accomplishing nothing. This is the price that must be paid for the passions of this earth. Nothing is told us about Sisyphus in the underworld. Myths are made for the imagination to breathe life into them.
    • There is no fate that can not be surmounted by scorn.
      If the descent is thus sometimes performed in sorrow, it can also take place in joy. This word is not too much. Again I fancy Sisyphus returning toward his rock, and the sorrow was in the beginning.
    
    
    • One does not discover the absurd without being tempted to write a manual of happiness. "What! — by such narrow ways — ?" There is but one world, however. Happiness and the absurd are two sons of the same earth. They are inseparable. It would be a mistake to say that happiness necessarily springs from the absurd. Discovery. It happens as well that the felling of the absurd springs from happiness.
    
    
    
    • "I conclude that all is well," says Oedipus, and that remark is sacred. It echoes in the wild and limited universe of man. It teaches that all is not, has not been, exhausted. It drives out of this world a god who had come into it with dissatisfaction and a preference for futile suffering. It makes of fate a human matter, which must be settled among men.
    
    
    • I leave Sisyphus at the foot of the mountain! One always finds one's burden again. But Sisyphus teaches the higher fidelity that negates the gods and raises rocks. He too concludes that all is well. This universe henceforth without a master seems to him neither sterile nor futile. Each atom of that stone, each mineral flake of that night filled mountain, in itself forms a world. The struggle itself toward the heights is enough to fill a man's heart. One must imagine Sisyphus happy.
      • Original French: La lutte elle-même vers les sommets suffit à remplir un cœur d'homme; il faut imaginer Sisyphe heureux.
      • Variant translation: The fight itself towards the summits suffices to fill a heart of man; it is necessary to imagine Sisyphus happy.
    
    

    Notebooks (1942-1951)

    • So many men are deprived of grace. How can one live without grace? One has to try it and do what Christianity never did: be concerned with the damned.
    
    
    • There is always a philosophy for lack of courage.
    
    
    • The greatest saving one can make in the order of thought is to accept the unintelligibility of the world -- and to pay attention to man.
    
    
    • Poor and free rather than rich and enslaved. Of course, men want to be both rich and free, and this is what leads them at times to be poor and enslaved.
    
    

    The Plague (1947)

    
    
    • Query: How to contrive not to waste one's time? Answer: By being fully aware of it all the while. Ways in which this can be done: By spending one's days on an uneasy chair in a dentist's waiting room; by remaining on one's balcony all a Sunday afternoon; by travelling by the longest and least-convenient train routes, and of course standing all the way; by queueing at the box-office of theatres and then not booking a seat.
    
    
    • When a war breaks out, people say: "It's too stupid; it can't last long." But though the war may well be "too stupid," that doesn't prevent its lasting. Stupidity has a knack of getting its way; as we should see if we were not always so much wrapped up in ourselves.
    
    
    • He tried to recall what he had read about the disease. Figures floated across his memory, and he recalled that some thirty or so great plagues known to history had accounted for nearly a hundred million deaths. But what are a hundred million deaths? When one has served in a war, one hardly knows what a dead man is, after a while. And since a dead man has no substance unless one actually sees him dead, a hundred million corpses broadcast through history are no more than a puff of smoke in the imagination.
    
    
    • There lay certitude; there, in the daily round. All the rest hung on mere threads and trivial contingencies; you couldn't waste your time on it. The thing was to do your job as it should be done.
    
    
    • "What on earth prompted you to take a hand in this?"
      "I don't know. My… my code of morals, perhaps."
      "Your code of morals. What code, if I may ask?"
      "Comprehension."
    
    
    • The important thing isn't the soundness or otherwise of the argument, but for it to make you think.
    
    
    • The evil that is in the world always comes of ignorance, and good intentions may do as much harm as malevolence, if they lack understanding. On the whole men are more good than bad; that, however, isn't the real point. But they are more or less ignorant, and it is this that we call vice or virtue; the most incorrigible vice being that of an ignorance which fancies it knows everything and therefore claims for itself the right to kill. There can be no true goodness, nor true love, without the utmost clear-sightedness.
    
    
    • There always comes a time in history when the person who dares to say that 2+2=4 is punished by death. And the issue is not what reward or what punishment will be the outcome of that reasoning. The issue is simply whether or not 2+2=4.
    
    
    • Yes, there was an element of abstraction and unreality in misfortune. But when an abstraction starts to kill you, you have to get to work on it.
    
    
    • In Oran, as elsewhere, for want of time and thought, people have to love one another without knowing it.
    
    

    The Rebel (1951)

    
    
    • Absolute freedom mocks at justice. Absolute justice denies freedom. To be fruitful, the two ideas must find their limits in each other.
      • "Historical Murder", as translated by Anthony Bower
    
    
    • The slave begins by demanding justice and ends by wanting to wear a crown. He must dominate in his turn.
    
    
    • One might think that a period which, in a space of fifty years, uproots, enslaves, or kills seventy million human beings should be condemned out of hand. But its culpability must still be understood... In more ingenuous times, when the tyrant razed cities for his own greater glory, when the slave chained to the conqueror's chariot was dragged through the rejoicing streets, when enemies were thrown to the wild beasts in front of the assembled people, the mind did not reel before such unabashed crimes, and the judgment remained unclouded. But slave camps under the flag of freedom, massacres justified by philanthropy or by a taste for the superhuman, in one sense cripple judgment. On the day when crime dons the apparel of innocence — through a curious transposition peculiar to our times — it is innocence that is called upon to justify itself.
    
    
    • If Nietzsche and Hegel serve as alibis to the masters of Dachau and Karaganda, that does not condemn their entire philosophy. But it does lead to the suspicion that one aspect of their thought, or of their logic, can lead to these appalling conclusions.
    
    
    • Every ideology is contrary to human psychology.
    
    
    • Every rebellion implies some kind of unity.
    
    
    • Every revolutionary ends as an oppressor or a heretic.
      • Variant translation: Every revolutionary ends by becoming either an oppressor or a heretic.
    
    
    • Nothing can discourage the appetite for divinity in the heart of man.
    
    
    • For those of us who have been thrown into hell, mysterious melodies and the torturing images of a vanished beauty will always bring us, in the midst of crime and folly, the echo of that harmonious insurrection which bears witness, throughout the centuries, to the greatness of humanity.
    
    

    The Fall (1956)

    
    
    • To be happy, we must not be too concerned with others.
    
    
    • In order to cease being a doubtful case, one has to cease being, that's all.
    
    
    • Let’s not beat around the bush; I love life — that’s my real weakness. I love it so much that I am incapable of imagining what is not life.
    • God is not needed to create guilt or to punish. Our fellow men suffice, aided by ourselves.
    
    
    • N'attendez pas le Jugement dernier. Il a lieu tous les jours.
      • Do not wait for the Last Judgment. It takes place every day. QOTD 2007·11·07 Sound file
      • Variant translations: I shall tell you a great secret, my friend. Do not wait for the Last Judgment. It takes place every day.
        Do not await the last Judgement. It takes place everyday.
        You needn't await the Final Judgment. It takes place every day.
    
    

    Resistance, Rebellion, and Death (1960)

    • I do not have much liking for the too famous existential philosophy, and, to tell the truth, I think its conclusions false.
      • "Pessimism and Tyranny"
    
    
    • When the imagination sleeps, words are emptied of their meaning: a deaf population absent-mindedly registers the condemnation of a man. ... there is no other solution but to speak out and show the obscenity hidden under the verbal cloak.
      • "Reflections on the Guillotine"
    
    
    • A punishment that penalizes without forestalling is indeed called revenge.
      • "Reflections on the Guillotine"
    
    
    • The welfare of the people in particular has always been the alibi of tyrants, and it provides the further advantage of giving the servants of tyranny a good conscience. It would be easy, however, to destroy that good conscience by shouting to them: if you want the happiness of the people, let them speak out and tell what kind of happiness they want and what kind they don't want! But, in truth, the very ones who make use of such alibis know they are lies; they leave to their intellectuals on duty the chore of believing in them and of proving that religion, patriotism, and justice need for their survival the sacrifice of freedom.
      • "Homage to an Exile", published as an essay in Actuelles III, originally a speech "delivered 7 December 1955 at a banquet in honor of President Eduardo Santos, editor of El Tiempo, driven out of Colombia by the dictatorship".
    
    

    A Happy Death (1971)

    • Only it takes time to be happy. A lot of time. Happiness, too, is a long patience.
    
    
    • Having money is a way of being free of money.
    
    
    • It's better to bet on this life than on the next.
    
    
    • It takes time to live. Like any work of art, life needs to be thought about.
    
    
    • To have time was at once the most magnificent and the most dangerous of experiments. Idleness is fatal only to the mediocre.
    
    
    • Believe me, there is no such thing as great suffering, great regret, great memory...Everything is forgotten, even great love.
    
    
    • He marveled at the strange blindness by which men, though they are so alert to what changes in themselves, impose on their friends an image chosen for them once and for all.
    
    
    • Happiness implied a choice, and within that choice a concerted will, a lucid desire.
    
    
    • The opposite of an idealist is too often a man without love.
    
    
    • Fate is not in man but around him.
    
    

    American Journals (1978)

    • Manhattan. Sometimes from beyond the skyscrapers, across of thousands of high walls, the cry of a tugboat finds you in your insomnia in the middle of the night, and you remember that this desert of iron and cement is an island.
    
    

    Quotes about Camus

    • As a writer Camus maintained his independence from both friends and enemies in the political and philosophical movements that attempted to subvert his writing to their own ends. ... Camus combines a taut writing style, as well as profound insights on society, with the courage to report back from the abyss of despair, unblinking.
      • Ottar G. Draugsvold in Nobel Writers on Writing (2000)