However, considering he makes Modernity a key concept, we fail to understand why Jeanyves Guérin’s highly informative work, whose title asks a very good question, is not among Srigley’s sources: (Paris, Champion, 2002).
Yet his bibliography does include several French scholars.
The table of contents suggests a return to the thematic breakdown with the first two of the three chapters respectively entitled “The Absurd Man” and “A History of Rebellion”.
In addition, the Introduction talks about the Camusian production in terms of cycles.
It reproduces this configuration that comes from the writer himself and from which recent reviews distance themselves.
However, the title of the third and final chapter, “Modernity in its Fullest Expression,” breaks away from conventional concepts.The other pole, Modernity – with the Theatre of the Absurd, the Nouveau Roman, the commentators on these movements and a lot of historians of contemporary drama – does not believe in the value of any ideology; a political reading is not appropriate for its works, but rather a metaphysical and timeless interpretation.Due to his background, Srigley comes at Camus from a philosophical perspective; he heavily cites Plato, Aristotle, Augustine, Kierkegaard, Nietzsche, Sartre… So he refers to the notion of Modernity without taking into account its aesthetic aspect.This major title included: an essay, – develops the underlying concept of the three works of fiction published in quick succession.In the 1960s especially but still today, many scholars of Camus view the evolution of his works in terms of themes and break them down according to his own planning.Srigley offers a new approach to reading the Absurd and the Rebellion by suggesting that there is an underlying general objective: Camus’ body of work as a whole seeks to put Modernity on trial.This claim is encompassing to say the least, and rather original to boot.Srigley comes at Modernity as it pertains to its close link to Christianity, as a successor to Antiquity: he perceives it the same way in Camus.From the Greeks, Camus draws a love of life that is inseparable from the lucid acceptance of death, with no hope for an afterlife.Some look at the essays and draw on the myth references: along the Camusian trajectory they find Sisyphus, Prometheus and Nemesis.Sisyphus rolled his rock with all his might to the summit of the mountain only to let it roll back down and endlessly start the same fruitless and obstinate move over again, which in and of itself represents the absurd.